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Downhill racer

Getting up to speed with family film Kiwi Flyer Tony Barry stars in Rest for the Wicked NHNZ’s intrepid cameraman Giles Pike More changes to immigration law

on f i l m . co . nz

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contents NOVEMBER 2011

Views 4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton on putting your best feats forward. 5


A quick word from editor Steven Shaw; Cartoonist Andy Conlan highlights the importance of insurance.

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

12 COVER: Edward Hall as Ben in upcoming family film Kiwi Flyer, set at the Nelson Trolley Derby. Photo: Joni Anderson.

Features 10

Wicked ways


Downhill racer

Onfilm takes a look at Rest for the Wicked, a new mystery set in a rest home, starring Tony Barry, John Bach and more.

Onfilm spoke with director/co-writer Tony Simpson and producer Tim Sanders about competitive spirit and their battle to fund Kiwi Flyer.


AFTA Awards 2011 finalists





The complete list of finalists for this year’s Aotearoa Film & Television Awards.

16 The hunter and the hunted NHNZ cameraman Giles Pike sure gets around. He talks to Onfilm about filming life in some of the most remote places on Earth. 20

Risky Business

Peter Parnham explains how film investors reduce risk and ensure they’ll see a finished film. He talks to Anni Browning from completion guarantors Film Finances Australasia.

Legal & insurance 23

Relaxing the rules

More changes to immigration rules are coming, reducing the input from screen industry guilds and unions. Peter Parnham investigates.

24 Odds vs Sods Entertainment and employment law specialist Karen Soich demystifies the terminology commonly used in contracts.

Regulars 26 A legal view Legal expert David McLaughlin considers the issues and pitfalls of oral agreements, which can be as legally binding as written contracts.

27 Across the ditch James Bondi, our ex-pat spy based in Australia, rounds up industry news from the Lucky Country. 28

Production listings

Volume 28, Number 10 

Est 1983

Editor: Steven Shaw (, 021-905-804 Contributors: Doug Coutts, Peter Parnham, Philip Wakefield Ad Manager: Kelly Lucas ( 09-366 0443 Production Manager: Fran Marshall Designer: Cherie Tagaloa New Subscriptions: Subscriptions Enquiries:, 09-529 3000 Pre-press and Printers: PMP Print Onfilm is published 11 times a year by Mediaweb Limited, which also publishes The Data Book. Mediaweb Limited, PO Box 5544, Wellesley Street, Auckland 1141 Phone 09-529 3000, Fax 09-529 3001 Website:

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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NOVEMber 2011


A private view

Putting your best feats forward We l i v e i n a time of constant change. I know that’s a contradiction in terms by doug coutts – along the lines of “local box office smash” – but nonetheless it seems to be have been a while since I’ve been able to kick back and relax, secure in the knowledge that the wall-planner is devoid of scribbles, crossings-out and stets. We’ve had the extended Heineken commercial that’s segued neatly into the pass-the-parcel shenanigans in the lead up to the general election, plus the silly season is approaching fast, as businesses wind down for the year. And for some, for good. For we freelancers, jobs come and jobs go and we accept that. But for salaried men and women, the end of a job – or career as they have foolishly considered them to be – can be traumatic. Not only must they start worrying where the next mortgage payment will come from, they’re also faced with the odious task of updating, or in some cases creating, a CV. I know how hard that can be, from experience. I’m not ashamed to admit – okay, a little – that I’ve never managed to get a job after sending in my own CV, or anyone else’s for that matter. The nadir came when I applied for a proofreader’s position. My application was returned eventually with the CV part a seething mass of red lines.

I take solace in the fact that ours is an industry that relies more on wordof-mouth than application forms (while wishing I’d behaved better at one or two wrap parties and industry events). But for those keen to establish themselves in the marketplace, a CV is a must. Opinion is divided on exactly how a winning CV should look. Some suggest that less is more – no busy employer wants to wade through pages of minutiae, so stick to the main points on two pages (double-spaced if you are under 20). Others point out that most senior managers are semiliterate at best, so make sure to include plenty of pictures and diagrams. And there are those who recommend the services of professional CV writers (usually professional CV writers). Call me a cynic if you like, but I’ve always thought that the only people who do well from self-help books are those who write them, and sell them. Everyone else may have a bookcase stacked with programmes for total fitness through 20 minutes of creative visualisation a week, healing pimples through macramé and sleeping your way to riches beyond compare, all with copious notes in the margin, but they’re still fat, pock-marked and broke. Although they might have a nearly full loyalty card from Borders. And so it is with CV authors. It stands to reason that you may be able to create a stand-out curriculum vitae for someone, but if you’re churning out 100 a day they’re going to start sounding the same. The tall-poppy syndrome only works if the rest of the

field is short. Once they all grow to the same size, there can be none head and shoulders above the rest. The other side says if all CVs look the same and qualifications/ achievements are all exaggerated to the same degree it means there’s a level playing field, and no one has an unfair advantage, or everyone has the

same unfair advantage. And that certainly makes sense. But just to be on the safe side, highlight the odd word here and there in a different colour. Add a photo. Get the whole thing nicely bound in leatherette if you must. But whatever you do, don’t give it to me to spell check.

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Andy Conlan’s view

Ed’s note Use it or lose it


uckland is in danger of losing its only film processing lab. FilmLab, based in Parnell, has had a difficult year financially. It’s been the most challenging time in the lab’s 10-year history, with a perfect storm of factors contributing to a sudden and sharp decline in the amount of film processed in recent months. The high NZ dollar and the inevitable impact of new digital technology are partly to blame, but other factors include the impact of the Rugby World Cup, with permits not being issued by Auckland City for productions during the tournament. Clare Rising, who assumed ownership of FilmLab following the death four years ago of the Lab’s founder Bob Rising, says the traditional seasonal dip in film production over the April to June period has this year continued on for a consecutive six months. And with that, a timely reality check as to the long term viability of retaining a film processing lab in Auckland. Rising has been meeting with representatives from the Auckland screen industry to express concern over the very real threat that national and international productions who still want to shoot on film may not be able to process that film in Auckland. “Gauging the reaction by so many in the industry has in all cases been hugely interesting,â€? says Rising, “in some cases quite disheartening but incredibly heartening in others. From the eloquence of some of the foremost NZ cinematographers, speaking at a meeting at FilmLab of their experiences on a film shoot and the beauty seen in the resultant images on screen, to the passion for film expressed by local industry producers – in spite of inroads by digital formats that no doubt have their own unique place in the industry. “The clichĂŠ ‘film is dead’ is still not a sentiment upon which FilmLab’s future will be decided,â€? says Rising. “FilmLab’s future will be decided by the will of those acutely involved in filmmaking, consolidating in a way that will ensure the current Auckland industry infrastructure is retained and valued.â€? So there you have it, it really does seem like a “use it or lose itâ€? scenario. While FilmLab is not the only processing lab in the country – Park Road Post in Wellington also handles film processing – it is the only one in Auckland and the knock on effect in some areas, like TVC production, shouldn’t be underestimated. In this issue we have articles on Kiwi Flyer, the new kid-friendly movie filmed on the streets of Nelson and Rest for the Wicked, a new mystery set in a rest home starring Tony Barry and John Bach. You’ll also find a feature on legal and insurance issues, plus box office and TV news from Phil Wakefield. And on pages 14 and 15, we’ve published the full list of finalists in this year’s AFTA Awards, to be held on 12 November at Auckland’s Viaduct Events Centre (with the Crafts Awards two days earlier on 10 November). You’re all winners in our books! It’s a busy month in Auckland with the AFTAs, the annual SPADA conference at SkyCity Convention Centre on 10-11 November and the Film Auckland-hosted Asia Pacific Producers Network Symposium (11-13 November). Many of you will be attending all three. So if you are, make sure you enjoy yourself and get the most out of these events. Until next month!  Steven Shaw, editor


Animated discussion


he sixth annual AnimFX NZ event is being held in Wellington this month from 15-17 November, with three days of games, animation, storytelling and visual effects. Keynotes, workshops and master classes will be taken by internationally renowned creatives and entrepreneurs. Speakers at the event include Pixar director Enrico Casarosa, who has just finished a new short which will be presented at the conference. Casarosa is also working on a new feature for Pixar. There’s also Josh Selig, president of Little Airplane Productions – a key person in children’s animated TV and winner of 10 Emmy Awards for work on Sesame Street. Carl Rosendahl sold his company, called PDI, to Jeffrey Katzenberg, who then developed it into DreamWorks Animation. Rosendahl will be presenting a Master Class on Entrepreneurship in Entertainment Technology. Other speakers include Lance Priebe, co-founder of Club Penguin and Patrick Hudson, co-founder and president of games developer Robot Entertainment. Key note presentations will be held at Te Papa on Tuesday 15 November with master classes and workshops on Wednesday 16 November, and a day at Weta Digital is planned for Thursday 17 November. For more details go to

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NOVEMber 2011


Short cuts

By Philip Wakefield

The Orator speaks volumes amid World Cup frenzy


hile the country was cheering on the All Blacks in the Rugby World Cup, exhibitors and distributors were cheering on The Orator and putting in place a game plan to revitalise their industry. In its first three weeks, the Samoan drama and foreign language Oscar contender grossed more than $595,000 on 21 screens. The Transmission/Madman release opened on 19 screens, where it ranked fifth for the week with $247,434, and slipped only 11.6% in its second week, before dropping 46.6% in week three. “That’s huge business for a small New Zealand film,” says veteran exhibitor Joe Moodabe, of Event Cinemas. The Orator was part of a strong, RWC counter-programming strategy by cinemas that saw movies like Jane Eyre and The Help pump up the box office when it could have taken a hit like Europe’s did during last year’s Soccer World Cup. “They delivered excellent box office results but obviously the big games had a major impact on key evening trading windows,” says Motion Picture Distributors Association president Robert Crockett. Box office was down about nine percent during the tournament, with the biggest falls occurring in the first few weeks when there were mid-week and weekend games. There were five weeks of successive decline, with the worst slump in the week

ending October 5, when the box office was $1.9 million compared to $4 million for the same week the previous year. However, school holidays were in full swing then and it wasn’t until this year’s delayed holidays began that the box office started to recover and regain parity with, and even surge ahead of, Australia’s. For the week ending October 12, it topped $4.1 million and for October 19, $4.7 million. “The actual school holiday trade was very strong and weathered the World Cup surprisingly well,” Crockett says. Even so, concern about kick-starting the box office out of its RWC doldrums sparked this month’s Golden Ticket initiative. The nationwide ‘scratch’n’win’ campaign is designed to reinvigorate the public’s enthusiasm for movies, while driving November business and maximising the uptake through December-January. “Christmas 2011 is looking fantastic,” Crockett says, “the best Christmas-New Year line-up I can recall.” It includes Puss in Boots, The Adventures of Tintin, Mission: Impossible – Ghost Protocol, Sione’s 2: Unfinished Business, Alvin and the Chipmunks: Chipwrecked, War Horse, Happy Feet 2, The Muppets, Sherlock Holmes: A Game of Shadows, Hugo, The Iron Lady and Tinker Tailor Soldier Spy. “We want to get back our adult audi-

The Orator. Image: supplied. ence,” says Moodabe of the $250,000 media campaign, which was the brainchild of the pan-industry group he chairs, the NZ Motion Picture Industry Council. “The whole industry is working together on this – distributors and exhibitors, majors and independents … I can’t recall an industry initiative this widely based.” It coincides with a resurgence in exhibitor investment, with Hoyts’ new Te Awa complex in Hamilton, the opening of

Wellington’s Roxy, Event adding two Deluxe screens to Wellington’s The Embassy in time for Christmas, and its Courtenay Place rival, Reading, opening on November 15 NZ’s first Titan XC screen, a 200square metre wall-to-wall display that will be three storeys high. Resource consent also has been approved for a fully digital, purpose built boutique cinema with three screens in the Capital’s Te Aro district.

Spiffing good news for SPADA powwow


ropping the Screen Production Incentive Fund threshold for feature films is expected to buoy the mood of this year’s SPADA conference. SPADA chief executive Penelope Borland reports “really good interest” in the November 10-11 programme. “We’re well ahead of numbers on last year at this time, so registrations are up. We’ve had good feedback on the programme and the variety. “There are a lot of projects trying to get up at the moment, so the lowering of the SPIF threshold has injected new optimism about getting projects over the line. “Quite a number of our conference

speakers will be bringing fresh new ideas on how to do that, as well as inspiration and the possibility of new partnerships and collaborations, particularly trans-Tasman.” The SPIF threshold has dropped from $4 million a feature film to $2.5 million. This should allow more movies to be made while keeping the three-year-old initiative competitive with the Australian Producer Offset screen incentive and alleviating reduced international and NZFC investment in movies. So far nine movies have been funded under the $68.5 million scheme. $20 million remains for allocation over the next two years.

The fund’s future beyond then will be determined by a Ministry of Culture and Heritage evaluation, which is due for delivery to Cabinet in June 2012. The threshold for formats other than feature films will be included in the evaluation. The SPIF relaxation follows the signing of co-production agreements with South Africa in September, and India in June, boosting NZ’s co-production treaties to 11. And under new streamlined visa processes for screen workers effective from March 2012, guild or union referrals will not be required for talent entering the

country as part of an official co-production (or for 14 days or less). Producers also will be heartened by NZ On Air boosting its spending on children’s TV productions by more than $1 million dollars. Last month the agency announced the 12 projects funded for 2012 will generate more than 450 hours of diverse programming. “With the almost limitless range of foreign programmes available, it’s critical that there is significant programming on our screens which reflects New Zealand culture and identity to our young people,” chief executive Jane Wrightson said.

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Short cuts

By Philip Wakefield

Billy T – Te first NZ movie on Blu-ray


he December 7 home video release of Billy T: Te Movie will mark the first time a NZ distributor has invested in a Blu-ray pressing of a NZ movie. Other Kiwi movies are out in HD, ranging from Once Were Warriors and The Piano to Black Sheep and The World’s Fastest Indian, but these have been internationally sourced. For instance, Black Sheep was released on Blu-ray through Icon in the UK, and it was the Icon disc that Warner Bros NZ distributed locally. But Billy T: Te Movie is the first local release that a domestic distributor has bankrolled for Blu-ray. Higher authoring costs and niche market for Blu-ray discs in this territory have discouraged distributors from offering local content in HD, be it movies or TV series. But with Blu-ray titles now accounting for more than 10% of disc sales, the economics have become feasible. “Blu-ray is now a serious format and will continue to grow in importance,” says Sony Pictures Home Entertainment chief Andrew Cornwell. “Billy T is a long-term product for us so we are taking a long term view in respect of the additional cost.” He expects Sony’s next NZ release, Sione’s Wedding 2: Unfinished Business, will also be Blu-ray bound. The chief extra on the Billy T disc will be additional and extended interviews that did not make the final cut of Ian Mune’s feature-length documentary, which grossed about $795,000 theatrically but still fell short of expectations. “While this is the largest New Zealand film this year, and opened to number one, the end result was significantly impacted by the timing of the TV feature Billy,” Cornwell says. “We are pretty unhappy about this.” The movie opened the same weekend that TV One aired the top-rating Billy, a coincidence that caused consumer confusion and prompted Cornwell to call for more collaboration between funding agencies NZFC and NZ On Air.

The Almighty Johnsons © South Pacific Pictures Ltd.

Golden Age for South Pacific Pictures drama


ext year is shaping up to be pure gold for South Pacific Pictures, with January’s release of Sione’s 2 and four network TV drama series on air, including the new TV3 commission Golden, and Shortland Street’s 20th anniversary. Season two of The Almighty Johnsons has just started shooting, the season four shoot of Go Girls will wrap next month, and production of Shortland Street’s initial 2012 episodes already is under way (the Christmas cliffhangers were completed last month). In late February, six-part comedy Golden will go before the cameras and in April, season two of Nothing Trivial. Shooting of The Almighty Johnsons wraps in mid-February. The 2012 season will have a longer run than 2011’s – 13 episodes instead of 10 – with producer Simon Bennett directing the first block. The creative team is largely the same, save for

the addition of production designer Tracey Collins. Also back are all of the cast, although production had to accommodate Dean O’Gorman’s role in The Hobbit. The six “Go Girls” also return for season four – Jay Ryan, Anna Hutchison, Alix Bushnell, Bronwyn Turei, Esther Stephens and Matt Whelan – with Chris Bailey and Britta Johnstone again producing. Directors include John Laing, Britta Johnstone, Murray Keane, Peter Salmon, and for the first time on the show, Michael Duignan. Casting has started for the comedy Golden, which will star creator/writer Lucy Schmidt as an out-of-luck, out-of-shape Olympics Games contender. Charlotte Hobson is producing and Katie Wolfe directs. Meanwhile, in the can and awaiting a transmission date is the reality series South Pacific Pictures has filmed for TV One, High Country Rescue.

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NOVEMber 2011


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By Philip Wakefield

Short cuts

Launches and strategies TVNZ and TV3’s local content slates for 2012 may largely be a reprise of this year’s, but Maori TV is skewing younger with its programming.


ased on what the networks unveiled to media and ad agencies at their new season launches, programmers have opted to play safe with more of the same.

Even the handful of new commissions that were announced reflect this, such as TV3 making its own versions of The X Factor and The Block, and spinning off its 7 Days alumni into a UK TV format, Would I Lie to You?, and Funny Roots, in which “top Kiwi comedians travel the world to see what part their heritage plays in their humour”. The network’s one fresh newcomer, Golden, also builds on its Kiwi comedy strategy while the new Paul Henry vehicle looks like being its riskiest venture. There will be more of The Almighty Johnsons, The Secret Lives of Dancers, Missing Pieces, 7 Days, WANNABE-n and What’s Really in Our Food. TV One also has renewed most of its staples, from MasterChef New Zealand and MasterChef Masterclasses to The Food Truck, Country Calendar, Intrepid Journeys, Fair Go, Coastwatch, Piha Rescue, Border Security and Beyond the Darklands. Darklands’ Nigel Latta will front The Politically Incorrect Guide to Adults and Te Radar goes on another voyage in Radar’s Pacific. Local drama will comprise season two of Nothing Trivial and another run of Sunday Theatre telemovies, while TV2 will lead off 2012 with Go Girls’ fourth season, and later in the year, mark Shortland Street’s 20th anniversary. Otherwise, it’s another year of diehards Neighbours at War, Police Ten 7, Rescue One and Motorway Patrol. Not announced at the launches, but in

the works, are: for TV One, the true-life dramatisation City Under Siege; the Platinum Funded Shackleton’s Captain, and a second season of Coasters; for TV3, the multi-part documentaries, Golden Mozzies and When a City Falls, and the feature-length Journey Into Darkness – The Strongman Tragedy. Prime’s local content line-up includes the self-explanatory factual series Shearing Gang, the auction house spin on our past History Under the Hammer, and two bluechip documentaries: the one-off A Shocking Reminder, which explores the aftermath of Canterbury’s earthquakes; and The Grand Plan, a series about a couple’s struggle to turn a dilapidated heritage building into a gastro pub. Among Maori TV’s 2012’s highlights will be: Atamira, a groundbreaking drama series adapting Taki Rua theatre to TV; Songs From the Inside, a documentary series about helping prisoners find their voice through music; Kanikani Mai, a cross between Dancing with the Stars and Homai Te Pakipaki; and new seasons of Homai Te Pakipaki, Hunting Aotearoa, Hyundai Code and Kai Time on the Road. There also will be a stronger focus on the youth audience from mid-year, with the channel’s sports coverage and Matariki 2012. Programming chief Haunui Royal says the channel’s Rugby World Cup coverage was a “game-changer” that caught the attention of middle NZ. “We are happy with our audience and the fact that we’ve brought in the mainstream. But most Maori are under 35 so the challenge now is to attract a younger audience.

“From June next year, the network’s focus will shift to its younger viewers.” Media buyer Martin Gillman, of MGCOM, says Maori TV needs to capitalise on its RWC success. “They also either need to become more commercially focused or give up on advertising content completely.” He predicts TVNZ will stay as “the heart of creativity and professionalism” among the networks but become even more commercially focused with more reality and cooking shows. “It should be at least partially privatised by the next government,” he says. Gillman says TV3’s biggest challenge is finding a way out of its crippling debt. “They say they will continue with plans for the local version of The X Factor but it must be in some doubt. They have made a commitment to produce The Block, which should be a hit for them mid-year.” However, he reckons TV3 could benefit from changes to how ratings are measured in 2012, including, for the first time, timeshifted viewing. “The change in measurement currency will significantly alter channel shares. Early indications are that TV3 and sport will gain significantly. The currency is important because it dictates revenue – a one percent share loss equates to about $5 million. TVNZ might lose out a little.” John Dee of JDee Media is unsure about time-shifting’s impact on ratings. “Initially, it will skew to high-income households who tend to be more discerning viewers,” he says. “It may simply be a case that their TV viewing hours are higher than that

currently recorded. I imagine Coronation Street will show up strongly with timeshifting. I suspect people are recording Coro then watching it at 7:30.” As to how the networks have fared this year, Dee says TV One has strengthened its position against its core audience of 25-54 year-olds. “This is also the target audience for Prime, which has lost share, and TV3’s new target audience. The move to 25-54 has not paid dividends for TV3, with share actually declining. This is a worrying sign as it was performing better when it wasn’t targeting 25-54. “TV2 continues to dominate against its target audience of all people18-39. Interestingly, TV One has gained share against this target audience, which is probably due to the move to more reality shows on TV One. “Four continues to improve but MediaWorks may be suffering the age-old problem that TVNZ has had – and that is one channel gains at the expense of its sister channel and not the competition. “Prime will be keen to get its share back up over the magical five percent threshold.” Dee says TV3 desperately needs to win back viewers in 2012. “Its performance over the last few months has been extremely disappointing. The old adage is that if it trends downwards over a period of time then it takes some time for it to trend upwards. “Whether MediaWorks’ owners like it or not, the fact is they will need to invest to turn it around and get things heading back in the right direction.”

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NOVEMber 2011


Sara Wiseman and Tony Barry in Rest for the Wicked: Photo: supplied.

Wicked ways If life in a rest home conjures up images of milky tea and Zimmer frames, it may be time to adjust your view.


est for the Wicked, a new dark comedy indie feature, makes the most of its stellar local cast to blow the lid on rest home stereotypes, sometimes quite literally. The plot revolves around Murray Baxter (honorary Kiwi Tony Barry), a retired ex-cop who goes undercover one last time to finally get the goods on his oldest rival, hitman Frank Henson (John Bach). But what Murray finds within the sleepy confines of Knightsbridge Gardens is enough to raise the eyebrows of even the most hardened gumshoe. When the residents start dying one by one, Murray must use all his old skills to fathom out just what’s going on. He interviews a mix of distinctly unreliable witnesses in his efforts to build a case against the dangerous Frank. He also tries his level best to evade the clutches of the sex-starved Dorothy and Esther (played by Irene Wood and Ilona Rodgers). The movie is a feature first in many ways for its New Zealand crew, with first time director Simon Pattison, first-time producer Maile Daugherty, first-time DOP Jos Wheeler, and de-

but screenwriter Bob Moore, whose background is in advertising. “All too often these days, the older generation seem to be either patronised or mocked in movies,” says Moore. “We wanted to buck that trend and show that life is life no matter what age you are. You still have the same dreams, aspirations and vices whether you’re sixteen or seventy-five. More time and money to pursue them too.” As well as hours of extensive research interviewing the residents, relatives, caregivers, managers and even the gardeners of rest homes in the Auckland area, some of the team also attended the annual Christmas dinner at Remuera Gardens, the location for the seven-week shoot. “It was great,” says Pattison. “These guys have so much energy it puts you to shame. I sat next to someone who had climbed Kilimanjaro the year before. He was seventy-two!” “Part of our angle with the NZ Film Commission was that the movie showcased a wealth of much loved, homegrown talent,” adds Daugherty. She’s not joking either. Along with

Barry and Bach, the movie boasts the likes of Elizabeth McRae, Ian Mune, Bruce Allpress, Ken Blackburn, Elisabeth Easther, Sara Wiseman and Steven Lovatt to name but a few. “We had an awesome cast and I think they all really enjoyed working together on the same set for a change,” laughs Daugherty. “Some of the stories that were coming out were enough to make your hair curl!” Veteran screenwriter Nick Ward (Stickmen, Second Hand Wedding) was also pivotal as script editor on the project, something that Moore fully acknowledges. “Nick was fantastic throughout. He and Simon basically gave me a one-pager and off I went. It was quite a complicated storyline for a virgin like me, I almost shot myself in the foot, but if ever I needed advice or something wasn’t quite working, the bearded wonder was there to point me in the right direction.” So what were Moore’s influences when writing? “At its heart, Rest for the Wicked is a detective drama, so I guess there are touches of the Saturday night TV cop shows I grew up with

in the UK – Columbo, Kojak, Inspector Morse. I’m pretty sure there’s a healthy dose of The Singing Detective in there too. And possibly a dash of Ealing comedy or maybe even Fawlty Towers, although hopefully we never descend into farce. “We set out to attract an older audience, obviously,” says Moore. “The setting and subject matter alone are probably enough to turn off anyone under the age of 30. But I honestly think there’s something in there for everyone.” In a rest home? Really? “Absobloody-lutely,” asserts Moore. “We’re all going there one day after all, and this isn’t a depressing movie, quite the opposite. It’s a celebration of life, an assertion that it’s better to go out with a bang than a whimper. It’s also a lot more innovative than much of the bland formula stuff you see churning out of Hollywood these days. “And,” he smiles, “we have an explosion too.” • Rest for the Wicked is released this month.

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Downhill racer It’s about time a feel good, locally made, family movie came along. Kiwi Flyer is just that – a family film with thrills, spills, heroes and villains. Onfilm spoke with director/co-writer Tony Simpson and producer Tim Sanders about competitive spirit and their battle to fund the production.


ilmed on the leafy, hilly streets of Nelson, Kiwi Flyer is about young Ben, played by Edward Hall, who enters a trolley derby against his mother’s wishes and competes against a ruthless family of bullies. There’s more to it than that of course, with family tragedies, downhill racing and a cast that includes Tandi Wright, Dai Henwood and everyone’s favourite tyre commercial presenter, Vince Martin. Director and co-writer Tony Simpson grew up in Nelson and remembers the trolley derby fondly as a calendar event. When visiting his father there a few years ago, he saw the race again and was blown away by the effort families had gone to. “It’s been going for 40 or 50 years here,” he says. “There was a guy in my class whose dad worked at the airport. He built a fantastic trolley named NAC (named for NZ’s former domestic airline, National Airways Corporation). It had beautiful wheels and an aluminium body – everyone else had the old rope steering wheel with an apple box as the seat. It blitzed everybody, I’ve always remembered that.” Simpson says that Kiwi kids haven’t seen enough movies about themselves. “That’s one of the things I’m quite passionate about, creating a film for our kids,” he says. “We just don’t get enough, most of them are American stories.” The setting is contemporary, but the story is timeless, says Simpson. “In



Nelson the trolleys just get better and better that’s all, flasher and flasher. We were lucky. There are a couple of people in Nelson who are so into their trolleys, they helped us to build these fantastic trolleys, especially the Aussie ‘baddies’ one – it’s the classic Kiwi vs Aussies thing. That’s the core of the story, battling against our cousins, our big brothers.” Trans-Tasman rivalry is fascinating, says Simpson. “That’s what Andy [Andrew Gunn, co-writer] and I wanted to explore in the script, the whole thing about competition. I mean, we admire the Aussies for being ruthless and having a desire to win. And we want to be like that, but how many times at school did we get told about competing – that it’s just good to be in there. That’s also true. There’s a dilemma whenever we do anything or compete in anything. “We were lucky to have Vince Martin as the baddie, the Aussie father,” he says. “Everybody knows him. As soon as I mention him to anybody a smile comes across their face.” Ideally, they wanted to film around the annual event, but it wasn’t that simple. “Two years ago I shot some footage from the derby, we’ve cut a little bit in here and there,” he says. “And last year, when we had our trolleys first built, we raced them. But it was a rainy day, it looked overcast and everybody had raincoats on. So it didn’t match what we were shooting when we finally came here. Plus, we

had to start production by a certain date, which was the middle of winter. So we had to restage it, which we did over four days.” The production was blessed with clear blue skies for the restaging, says Simpson. “We couldn’t have asked for anything better.” Producer Tim Sanders has a long list of credits, including internationally successful films Whale Rider and The Lord of the Rings: The Fellowship of the Ring. He has also produced TV shows, from Marlin Bay to This Is Not My Life. “Tony had the script in development at the Film Commission,” says Sanders. “It was at a pretty advanced stage, I was talking to them about another matter. The then head of development, Marilyn Milgrom, asked if she could flick me a script to ascertain interest. I thought it was fantastic and I’d known Tony for quite some time so it was an easy decision to come on board and lend him support as well.” So what sort of funding came from the Film Commission? “Well, less than we hoped for, less than we asked for,” he says. “The funding on this is pretty complicated. Even though the film has only a $1.1 million budget, we have five sources of funding. The Commission chose to give us around about half of what we thought was an appropriate budget level and they set us the task of finding the other half. Which we did, from four other

Photos: Joni Anderson.

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we did end up with a fantastic cast and crew and they’re people who are dedicated and committed to the domestic industry.” • Kiwi Flyer will be released in 2012.


the time will come. On this film our approaches to a number of actors and crew members were turned down because of the very low rates we had to offer. “The other side of the coin is that


manage that. And therefore some projects will not go ahead.” The other investors were the Nelson Council, MediaWorks, NZ On Air, and Venture Accelerator Network, a group of Nelson-based angel investors. “It’s worth saying that the amount of time spent putting that together is disproportionate to the budget size. We spent months and months putting that together – for a $1.1 million film the return in fees for the producer, director and heads of department – it doesn’t represent fairly the work required. For two years’ worth of work, we had to be careful that the producer and director were earning the minimum wage. “It’s only the creative aspect that keeps you wanting to do this,” he says. “Time after time we’re going to the domestic participants – the local actors and crew – and we’re asking ‘can you do us a favour, can you work for less than is fair?’ So far people have been doing it, but I have a sense that with the big Hollywood films out here sniffing around and paying probably five or six times what we can afford,


sources. But certainly, the Commission is the majority funder. “We’re grateful to the Commission for their contribution,” says Sanders, “but the task they set us, they possibly thought we couldn’t achieve. It was only through an awful lot of hard work and an awful lot of favour pulling that we were able to piece together the remaining finance. It got down to us trying to find private investors with sums of $5000 to put it together.” Sanders supports the idea that other avenues of funding should be explored in New Zealand. However, he also says that it is the Film Commission’s remit to fund pictures in New Zealand. “Their line to the industry in the last couple of years has been that they have very limited finance, they don’t have enough money to go around, and that other avenues are needed,” he says. “We managed to do that on this film, but I believe that the other sources of finance, particularly private investors, are a very finite pool. Each project is going to struggle, depending on its own merits I suppose, to

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NOVEMber 2011


2011 AFTA Finalists The AFTAs, or Aotearoa Film & Television Awards, recognise the best of New Zealand’s film and television industry talent. Entries closed in August and since then 90 judges have whittled down the 657 entries to determine the finalists in 61 categories. This year’s Gala Awards takes place on Saturday, 12 November at Auckland’s new Viaduct Events Centre. The technical achievements of film and television makers will be honoured at the Craft Awards Luncheon on Thursday, 10 November. Highlights will screen on TV3. Qantas Best News 3 News Tonight One News Best News or Current Affairs Presenter Hilary Barry 3 News John Campbell Campbell Live Peter Williams One News Best News Reporting Hamish Clark 3 News Guyon Espiner One News Duncan Garner & Tony Reid 3 News Best Current Affairs Reporting for a weekly programme or oneoff current affairs special Janet McIntyre Sunday Amanda Millar & Joanne Mitchell Sunday Sonya Wilson 20/20 Best Current Affairs Reporting for a daily programme John Campbell Campbell Live Mark Crysell & Kate McCallum Close Up Gill Higgins & Kate McCallum Close Up Best Current Affairs Series 60 Minutes Terence Taylor Native Affairs Colin McRae Sunday Investigation of the Year Paula Penfold & Eugene Bingham Secrets and Lies Rachel Stace A Rotten Shame John Campbell, Pip Keane & Claudine MacLean Campbell Live – The Tsunami Aid Money Investigation Best News Camera Christie Douglas 3 News – Pyne Gould Corp. Building Collapse/ Christchurch Quake: Pyne Gould Building Flattened Bob Grieve 3 News – Hoar/Singer/ Students Cameron Williams 3 News – Niger Series/Airline Investigation Best Current Affairs Camera Martin Anderson 20/20 – Rite of Passage Chris Brown 20/20 – Breaking Back Leander Scott-Donelan Close Up – Pheasant

Best News Editing Sarah Rowan 3 News – Pike River Memorial/Amy Gilbert/ Commonwealth Paul Sparkes One News – Special Report 1080 Paul Sparkes One News – Special Report CCTV Best Current Affairs Editing Will Kong Sunday – Officer Down Nick Reid 20/20 – Sitting on a Killer Elisabeth Topping Sunday – Big on the Blogosphere Images & Sound Best Drama Programme Outrageous Fortune 6 South Pacific Pictures This Is Not My Life Desert Road What Really Happened: Waitangi Eyeworks New Zealand NZ On Air Best Comedy OR Comedy Series 7 Days MediaWorks A Night At The Classic Two Heads Super City Super Fumes Maori Language Commission/ Te Mangai Paho Best Maori Language Programme E Tu Kahikatea Te Noni Katerina Te Heikoko Mataira Maori Television Kowhao Rau Series 1 Kura Productions Best Children’s/Youth Programme The Amazing Extraordinary Friends Series 3 Greenstone TV Kaitangata Twitch What Now 30th Birthday Show Whitebait TV Best Information Programme North Episode 6 JAM TV The Politically Incorrect Guide to Teenagers Razor Whare Maori Episode 1 Kainga Scottie Productions Auckland Council Best Entertainment/Factual Entertainment Programme Making Tracks Two Heads MasterChef New Zealand Imagination Television The New Zealand Variety Show Eureka Productions

Kordia Best Multi-cam Broadcast ANZAC Day 2011 – Kotahi Te Wairua Maori Television Polynesian Blue Pacific Music Awards TVNZ Rise Up Christchurch Global Telethon Commotion TV Best Observational Reality Series Intrepid Journeys JAM TV Rescue 1 Series 3 Great Southern Television The Secret Lives of Dancers Eyeworks New Zealand Best Constructed Reality Series Are You My Tribe? Claudette Hauiti Bigger, Better, Faster, Stronger thedownlowconcept Missing Pieces Eyeworks New Zealand Best Performance by an Actress Miriama McDowell This Is Not My Life Madeleine Sami Super City Tandi Wright This Is Not My Life Best Performance by a Supporting Actress Nathalie Boltt Bloodlines Rena Owen Shortland Street Fern Sutherland The Almighty Johnsons Best Performance by an Actor Jarod Rawiri What Really Happened: Waitangi Antony Starr Spies And Lies Mark Mitchinson Bloodlines Best Performance by a Supporting Actor Dean O’Gorman Nights in the Gardens of Spain Craig Parker Legend of the Seeker Craig Hall Bloodlines Best Presenter – Entertainment/ Factual Jeremy Corbett 7 Days Nigel Latta Politically Incorrect Guide to Teenagers Marcus Lush North Episode 10 Best Script – Drama/Comedy Paula Boock & Donna Malane Bloodlines James Griffin Outrageous Fortune Madeleine Sami & Thomas Sainsbury Super City Images & Sound Best Director – Drama/Comedy

Peter Burger What Really Happened: Waitangi Britta Johnstone Stolen Peter Burger Bloodlines Best Director – Entertainment/ Factual James Anderson – Two Heads The Food Truck Dean Cornish & Nick Dwyer – Two Heads & Like Rice Making Tracks Karen Mackenzie & Michael Bennett Whare Maori Episode 1 Kainga Kordia Best Multi-camera Direction Darryl McEwen MasterChef New Zealand Nigel Carpenter & Mitchell Hawkes Band Together for Canterbury Rob McLaughlin One’s Countdown to New Year Best Cinematography Drama/ Comedy Andy Commis This Is Not My Life David Paul Reservoir Hill: Everyone Lies Kevin Riley Legend of the Seeker Images & Sound Best Editing Drama/Comedy Paul Maxwell This Is Not My Life Allanah Milne Stolen Bryan Shaw The Almighty Johnsons Best Original Music Sean Donnelly & Victoria Kelly The Almighty Johnsons Gareth Farr Panic At Rock Island Don McGlashan This Is Not My Life Best Sound Design Phil Burton, Don Paulin & Mark Cornish Panic At Rock Island Tom Miskin, James Hayday, Mike Bayliss & Steve Finnigan Stolen Chris Burt Legend of the Seeker Best Production Design Tracey Collins This Is Not My Life Tracey Collins What Really Happened: Waitangi Gary Mackay Go Girls 3 Best Contribution to Design Katrina Hodge Outrageous Fortune Jane Holland Legend of the Seeker Peter McCully This Is Not My Life

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Events Best Popular Documentary OR Documentary Series The Banker, The Escorts, And The $18 Million KHF Media Jesus The Cold Case Red Sky Film & Television October 15 Pietra Brettkelly & Kim Webby Best Arts/Festival/Feature Documentary Gordonia Colossus Films I Am the River Razor Operation 8 cutcutcut Best Director Documentary John Bates 50 Years of Television Annie Goldson Brother Number One Merata Mita (posthumous) Saving Grace Best Cinematography Documentary/Factual Jacob Bryant North â&#x20AC;&#x201C; Episode 6 Renaud Maire I Am the River David Paul The Banker, The Escorts, and The $18 Million Best Editing Documentary/ Factual Annie Collins The Waterfall Geoff Conway 5 Days in the Red Zone Gretchen Peterson The Banker, The Escorts and The $18 Million Best Feature Film My Wedding and Other Secrets South Pacific Pictures Love Story Pictures for Anna Predicament Novel Productions

Outstanding Feature Film Debut Michael Bennett (Filmwork) Matariki Simone Horrocks (THE Film) After the Waterfall Josh McKenzie (Eyeworks New Zealand) The Hopes & Dreams of Gazza Snell Best Director in a Feature Film Florian Habicht Love Story Roseanne Liang My Wedding and Other Secrets Jason Stutter Predicament Best Lead Actor in a Feature Film Antony Starr After the Waterfall Matt Whelan My Wedding and Other Secrets Rawiri Paratene The Insatiable Moon Best Lead Actress in a Feature Film Michelle Ang My Wedding and Other Secrets Robyn Malcolm The Hopes & Dreams of Gazza Snell Sara Wiseman The Insatiable Moon Best Supporting Actor in a Feature Film Greg Johnson The Insatiable Moon Josh McKenzie The Hopes & Dreams of Gazza Snell Edwin Wright Matariki Best Supporting Actress in a Feature Film Alix Bushnell Matariki Sara Wiseman Matariki

Teresa Woodham The Insatiable Moon Best Screenplay for a Feature Film Roseanne Liang & Angeline Loo My Wedding and Other Secrets Mike Riddell The Insatiable Moon Jason Stutter Predicament Best Cinematography in a Feature Film Alun Bollinger Love Birds Maria Ines Manchego Love Story Simon Raby Predicament Best Editing in a Feature Film Cushla Dillon After the Waterfall Peter Oâ&#x20AC;&#x2122;Donoghue Love Story Jonathan Woodford-Robinson Predicament Best Original Music in a Feature Film Neville Copland The Insatiable Moon Don McGlashan Matariki Plan 9 Predicament Images & Sound Best Sound in a Feature Film Tim Prebble, Chris Todd, Mike Hedges & Gilbert Lake The Hopes & Dreams of Gazza Snell Dick Reade & Gethin Creagh After the Waterfall Matt Stutter, Martin Kwok, Michael Hedges, Gilbert Lake & Ken Saville Predicament Best Production Design in a

Feature Film John Harding Predicament Miro Harre Matariki Andrew McAlpine Love Birds Best Costume Design in a Feature Film Bob Buck Tracker Lesley Burkes-Harding Predicament Kirsty Cameron Love Birds Best Make-Up Design in a Feature Film Denise Kum Love Birds Angela Mooar Predicament Best Visual Effects in a Feature Film Digipost Love Birds Sauce VFX Predicament Best Short Film BIRD Great Southern Television Ebony Society StanStrong Go The Dogs Jackie van Beek Best Performance in a Short Film Peter Hawes BIRD Jennifer Ludlam Hauraki Brittany-Anne Romijn Go the Dogs Best Screenplay for a Short Film Tammy Davis Ebony Society Sam Holst Meathead Gregory King, Jane Shearer & Steve Ayson BIRD Outstanding Technical Contribution to a Short Film James Cunningham Das Tub James Cunningham First Contact Maria-Elena Doyle Meniscus

NOVEMber 2011


The hunter and the hunted Giles Pikeâ&#x20AC;&#x2122;s day job as a contracted cameraman and director for Dunedin-based NHNZ takes him to teeming rainforests and wind-swept deserts.


fter 10 years in NZ, and three so far with NHNZ, Giles Pike reckons Dunedin is downright balmy and tropical when compared to his former home in the north of England. His introduction to TV was there, where he landed a job as tea boy for a regional TV company. â&#x20AC;&#x153;I had no qualifications,â&#x20AC;? he says, â&#x20AC;&#x153;but the little tiny company landed a Discovery Channel show on classic cars and sent me to a BBC directorsâ&#x20AC;&#x2122; course.â&#x20AC;?

Giles Pike. Photo: Supplied.

After three series of the classic car show and working in London on â&#x20AC;&#x153;everything from antiques shows to a doco series about missing childrenâ&#x20AC;?, he headed to New York City, staying on for a few years. And when he felt he couldnâ&#x20AC;&#x2122;t do the big city thing anymore, he came to NZ expecting to work as a farmer. Classic cars and farms are literally worlds away from the shows he now makes. Pike has just finished making a series called Hunters of the Lost




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OR PERMISSION TO MAKE FILMS.” Anti lens flare device, Tanna Island, South Pacific. Photo: Supplied.

World, which was filmed in the harsh climates of the African rainforests and deserts. “It’s a show that looks at the last sustainable hunter tribes on Earth,” says Pike. “Sustainable meaning they don’t hunt with guns. That pretty much screws every tribe, as soon as they get a gun it’s all over. They overhunt themselves, starve themselves out and have to disband.” It took him to the Cameroon border, the last rainforest in Africa, where he filmed a pygmy tribe that had never been filmed before. “And we went to the Kalahari Desert,” he says. “That was a crew of three. I was director-shooter-camera. “With just one or two of you it’s really creative and challenging,” says Pike. “You can’t take a lot of gear; it might be a three-day walk. You can’t use a chopper because the tribe may not have even seen one before, and you’ll terrify them. So you have to walk in.” Pike specialised in hand-held work back in the UK, making “immersive stuff” where they wanted just one person to go in – undercover jobs where you can’t send in a sound man and a cameraman, director and producer. “I started doing those jobs and enjoyed the really challenging aspect of doing four roles at once,” he says. “I liked the fact that it could go wrong really quickly. And when it goes right it looks great.” And now his one-man crewing skills are taking him into the jungle. “Filming these guys hunting animals, just like hunting deer in NZ, you can’t do it with a big crew. It’s me, the presenter and the tribe.” He recounts passing precious bodily fluids into a bottle rather than stepping outside the tent at night: “The next day we caught a sevenmetre reticulating python about 200 yards from the camp. It was so big; it had eaten a full sized deer. The hunters caught the snake, ate the snake and ate the deer that was inside the snake.” There were big things out there, things like jungle buffalo. “They’re like small buffalo, but really gnarly. Got chased by a few of those, it’s

pretty scary. It’s classic, you turn around to run and you just see a wall of green jungle.” Pike says it’s a tough job for his executive producer John Hyde. “Often we’ll have to go off the radar for weeks on end, so me and him have to have a pretty tight and trusting relationship. He needs to know I have a watertight game plan and I need to know he’s got my back if things go wrong and he’ll get me out of there.” Sometimes there’s no sat phone reception in the deep jungle due to the canopy thickness, says Pike, “except for a three-minute period when the satellite is directly overhead. “In that three minutes he has to make sure we’re all okay, no injuries or illnesses or bites, and I’ll have a couple of minutes to update him on the story so far and he’ll have a couple of minutes to make any major editorial decisions. You get pretty close to someone after you’ve been through a few of these shows.” Pike says it’s about keeping the camera running and shooting to edit. “In your head you’re thinking I’m going to need this shot, then this shot, this shot – all while the camera’s running. Putting in the close-ups and wide shots and the reactions from the presenter, all in one sequence without cutting the camera. “If these guys are hunting a buffalo, you only get one take. And these guys only do something once, they’ve never seen a TV. They’re like ‘why would you want to do something again?’ When it goes wrong it’s horrendous. There’s no re-killing of the seven-metre long python. “We shot on full HD,” says Pike, “we used a Panasonic Vari Cam and a Sony 950, which is a big studio camera. They give you the best handheld, they’re more stable –they’re really heavy. Because it’s for National Geographic, the more HD content you can give them the better. It’s a true one inch HD chip camera. We wanted to take those big cameras. We want that real HD experience, but handheld.

Jamie Lawrence

Way back when I was saving up to study film in New York, Park Road hosted a fundraiser to help. They backed me with a job and gave me an office to work in on my return. Since then, they’ve helped me bring two DIY short films to fruition. I still wonder how I got so lucky. One of the best things about being an ardent filmmaker is working alongside other equally devoted artists whose love of the craft is as quintessential and as obsessive as your own. Park Road is full of individuals like this. They’re people with integrity, a respect for the bigger picture, and an understanding of the circuitry that connects artistic endeavour with commerce.

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Continued on page 19

NOVEMber 2011


Continued from page 17

â&#x20AC;&#x153;Those big cameras give you a lot smoother handheld, you can do those long sequences and itâ&#x20AC;&#x2122;s smooth because itâ&#x20AC;&#x2122;s on your shoulder and itâ&#x20AC;&#x2122;s heavy. And a big expensive wide angle lens gives you lots of room to work with focus wise. The only time we used a small camera was in the Kalahari Desert. We literally had to crawl across the desert for about three miles while we were stalking antelope. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m not a cameraman who came through some course, not massively technically savvy,â&#x20AC;? he says, â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;m more director-producer and shooting is kind of a sidearm if you like. I canâ&#x20AC;&#x2122;t take a camera apart and mend it. Iâ&#x20AC;&#x2122;m not one of those people at all. â&#x20AC;&#x153;Seeing these people,â&#x20AC;? philosophises Pike, â&#x20AC;&#x153;theyâ&#x20AC;&#x2122;re the last hunter gatherers on Earth really. To think we all once had these skills. Human beings doing all these beautifully instinctive things, itâ&#x20AC;&#x2122;s pretty moving. I didnâ&#x20AC;&#x2122;t really go in expecting to see that sort of thing. If thereâ&#x20AC;&#x2122;s only two or three of you, you come in and are accepted into the tribe, like family almost, they take you in.â&#x20AC;?

Photos: Supplied.

If these guys are hunting a buffalo, you only get one take. And these guys only do something once; theyâ&#x20AC;&#x2122;ve never seen a TV. Theyâ&#x20AC;&#x2122;re like, â&#x20AC;&#x2DC;why would you want to do something again?â&#x20AC;&#x2122;

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Risky business How do film investors ensure they will get a finished film? Peter Parnham talks to the experts.


he idea that risk and reward go hand in hand can be dangerous. It is only a short leap to believe that the more risk you take the bigger the rewards will be. Film investors know otherwise. They want to reduce risk and one way they can do that is to employ the most basic risk management principle there is – contract the risk off to other parties. Reading the script and the producer’s CV thoroughly might minimise the risk of investing in a flop, but the investor’s next big risk is essentially the same as a kidnap ransom payoff – how to hand over the money first and still be sure of delivery. This is where the completion guarantor comes in. Through a contract with both the producer and the investors they bond that the film will be finished and delivered. The hook is that they bond not just that the agreed film will be delivered but that it will be delivered for the agreed amount of money, by the agreed date. Anni Browning, managing director of completion guarantor company Film Finances Australasia, says they guarantee that the film will meet generally known technical standards. “We don’t guarantee that the film will be a box office success,” she says. How good a finished film is will depend on a lot of factors, including the director’s interpretation of the script. But a script is by nature visually vague and not an especially good guide to how the final film will appear. Despite this, it is the script that forms the basis of the contract for completion. Browning says investors may be privately disappointed in films but hasn’t experienced this spilling over into disputes about what was supposed to be delivered. “Investors know the cost of the film they’re buying into, and an informed investor will know what that



Tusi Tamasese’s The Orator – “We were surprised at Catherine Fitzgerald’s budget for The Orator, but then she explained how they were going to do it ... we then saw how it would work.” Photo: Supplied.

means. An investor in a $2 million film would know that they are not getting a film that is the same kind of film as a $20 million film,” she says. With the script as the basis of the agreement, completion guarantors need to ensure script changes are approved by the investors, but there can be a fine line between a script change and details of script interpretation. “Obviously scripts change, because you’ve never done this particular film before,” says Browning. “Every film is a prototype. You can’t make the film in advance in order to know how much it’s going to cost to make it.” Browning says things do change and good ideas can come out once you are on location with the cast. Part of the job

is to make sure that all the investors are notified when there are changes. “They need the chance to say ‘hang on, one of the reasons I bought the film was because of that scene you’ve just cut’,” she says. She gives the example of dropping a battle scene to save money and replacing it with some shots in a trench with noises off screen. “We can’t do that unless that is actually what the script says, so there is a limit as to how much budget we can save,” she says. But it can go both ways. “Many years ago when I was in the art department I worked on a wellknown film where, during shooting, the director decided that he needed a dance scene to lighten the mood.

The producer agreed and although everyone agreed it made a better film, she had to go out and find some extra money for it, because it wasn’t in the budget and it wasn’t in the script. It was worth it because the film went on to be a great success. “That is an extreme example. It is usually scenes that get squished because it becomes obvious that you can put scenes together. Some of it is budgetary, but a lot of it is actually creative as well. We keep abreast of all that so they can’t write in 40,000 cavalry riding over the hill if that wasn’t there before, and then say ‘sorry we’ve gone over budget’.” According to Browning the challenge is to marry the actual production


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Anni Browning and accountant Mark Kraus in Ramingining, Northern Australia, for Rolf De Heer’s Ten Canoes. Photo: supplied.

with the amount of money available, something that requires a good understanding of production processes and prompting producers to consider alternatives. It is a job that requires a mixture of diplomacy and firmness together with an intuition that leads you to drill down into detail when necessary, but not too much. “We rely a lot on the people we know,” she says. Low budget feature The Orator was produced by Catherine Fitzgerald and shot by first time director Tusi Tamasese in Samoa. The as-yet unreleased Mr Pip, directed by Andrew Adamson, was shot this year, in Bougainville, Auckland and the South Island. Film Finances provided completion guarantees for both movies. “They are very different films even though both of them are set on an island and both of them required shooting in a foreign country. The different scripts and the way they were shot also required very different budgets. That’s why you can’t equate the quality of films with the cost,” says Browning. For Browning it is about understanding the expectations right from the beginning. She likes to get involved before the investors have been

approached. “If the producer goes out there and says it is a $5 million film and we go ‘you know actually we think it’s a $7 million film’, that’s a credibility problem,” she says. “Quite often they have very good reasons. We were surprised at Catherine Fitzgerald’s budget for The Orator, but then she explained how they were going to do it and the fact that Tusi Tamasese comes from where they were shooting, and had a lot of good relationships there. We then saw how it would work. “It depends on the nature of the project, but if there are a lot of visual effects we might want to talk to the visual effects people, or if it’s a big art department film we would want to talk to the designer. “When we have had those conversations we do what is called a letter of intent, and that stays in place until all money is in place. After that the lawyers have their play, then it goes into preproduction. I will go and visit them in preproduction wherever they are, and then go again when they are shooting. I usually aim at about the second week of the shoot, so it doesn’t freak people out too much by turning up on the first week. It often

takes a week for everybody to settle down and for the machine to start working well.” Although completion guarantors ensure some of the risk is spun off to the insurers, it is not a hierarchy of insurance. “Insurance is one of those things that if you crash your car, you get the money, and if you crash it again, you get it again,” says Browning. “A bond is for the whole of the film, so if you go over a day at the beginning we are not going to pay you an extra day, what we’re going to do is ask where you can save that money further down the track. And that is why we require a contingency, to cover those kinds of unplanned events. “It is risk management – basically we look at the risks involved in a production and make a decision on whether those risks are manageable or not. Sometimes we make mistakes. After all we did bond River Queen.” If the production goes awry, completion guarantee contracts allow

Who needs a guarantor?


he two completion guarantee companies generally used by New Zealand productions are Australian based. Unlike Australia and some other countries, publicly funded New Zealand television productions don’t require completion guarantors. NZ On Air chief executive Jane Wrightson says risk is managed by careful attention to script, budget and key personnel requirements and, for example, adding an executive producer if a producer is less experienced. “No funded drama has failed to be completed in NZ On Air’s two decades of operations,” she says.

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Wrightson says that the producer bears the risk of going over budget and has to find savings in other areas and eat into their own fees if necessary. NZ On Air also has the power to take over the production and reassign it to another producer for completion. “We have done this in only a handful of cases, for example where a production company liquidates, and never for a drama,” says Wrightson. Long-standing policy at the New Zealand Film Commission is to require a completion guarantee where the production’s budget exceeds $1 million.

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the completion guarantor to step in and take charge. Browning says taking over a film is incredibly rare, getting “intimately involved” is not quite so rare, but getting worried is not rare at all. “We didn’t ever take over River Queen, but we worked extremely closely with the production,” says Browning. “Recently I had four projects in Australia that I was really worried about. And as it turned out none of them actually went over budget, and three of them ended up going much more smoothly than I had expected them to. But I was right to be worried about all of them – that’s my job. “You have to be philosophical about it. With the best will in the world things go wrong and it is not through bloody mindedness, it’s not deliberate, it is people either trying to do more than the budget will allow, because they love the project or just through inexperience,” she says. “People don’t get into trouble on purpose.”

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Legal & Insurance

Relaxing the rules More changes to immigration rules are due, which may mean more controversy and divided opinion within the industry. Peter Parnham investigates.


fter loosening the criteria for allowing overseas film crew and actors to work on productions in New Zealand in February, the Government is now going a step further, announcing new rules to reduce industry guild and union input. The new rules take effect next March – assuming the current Government is returned to office. Announcing the changes, Immigration Minister Jonathan Coleman argues the changes will provide a more streamlined system for the temporary entry of screen workers into New Zealand, a move he says is designed to support the sector’s growth. Somewhat ironically, he also says there has been huge growth during the two decades of the previous policies. However, he says previous policies are now outdated. Under the present rules, an applicant for a temporary work visa needs to notify the relevant guild or union, who may object. Prior to February 2011, the applicant had to have international distinction or merit, ethnic significance or be manifestly essential; and the applicant should not jeopardise employment of a New Zealander, unless they create wider benefits; and the producer had to show they had given appropriate consideration to employing New Zealanders. A system developed where the relevant guild or union would consider the application and, provided they thought it met the criteria, for a fee they would issue a letter of non-objection clearing the way for Immigration New Zealand to issue the visa. The union and guilds took different approaches to objecting or issuing a

letter of non-objection, with Actors Equity in particular criticised by producers for an approach they maintain was fair and reasonable. In February the criteria were relaxed by stipulating that any one of the criteria would be sufficient grounds for entry, and Immigration NZ put a stop to the convention of letters of non-objection. With the teeth largely taken out of the criteria, and all objections in the last couple of years of the old regime overruled in any case, there was little surprise over the new moves.

apply to hardly anybody. They will not apply for applicants working in New Zealand for 14 days or less – and those coming here to work on official co-productions, says Michael Papesch, general manager, Labour and Immigration Policy, Department of Labour (Immigration NZ is part of the Department of Labour). The 14-day exemption will cover most television commercials – and official co-productions already get a free pass because they are made under international treaties that require

We talk to people a lot when we’re doing non-objections. It’s an opportunity to connect with them in a significant way, and talk to them about using New Zealand directors. – Anna Cahill, SDGNZ “In short, we are removing a redundant, bureaucratic process,” says Coleman. It is hardly a side show. According to the Minister, 6700 people work in the industry but almost 2000 temporary visa applications were received per year over the past two and half years. Under next year’s rules, referrals to the guilds and unions remain, but will

personnel numbers to reflect the source of finance. On top of that, Australian crew and talent already have reciprocal rights to work here, leaving privately funded dramas as pretty much the only productions that have any semblance of the current regime remaining. But they too have been given an out. “Other workers will either be able to

get a work visa [without notifying the relevant guild or union] if their production company/employer has accreditation or a prior approval from Immigration New Zealand,” says Papesch. He says the fee for employer accreditation is yet to be set, and the details of accreditation are still being developed. But in a bit of Yes Minister logic you can apply anyway, according to the Minister’s announcement, which notes that “employers can now apply in advance for accreditation enabling them to bring in workers without further referral”. Meanwhile, Labour Party spokesperson for art, culture and heritage, MP Steve Chadwick says if Labour were elected as government this year, they would reverse the February immigration rule changes and the changes scheduled for introduction in March next year. “Labour believes in supporting home grown talent and also ensuring that the film production industry thrives. We would establish a process that involves the unions and ensures a flexible and timely response that meets the needs of the industry,” she says. Screen Production and Development Association (SPADA) chief executive Penelope Borland predicts the changes will not make material difference to the numbers of crew coming as producers don’t bring in offshore personnel unnecessarily due to the cost of doing so. Other groups take a less favourable view of the changes. The February changes have seen a big drop off in the Continued on page 25

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NOVEMber 2011


Legal & insurance

Odds vs Sods Entertainment and employment law specialist Karen Soich sheds some light on the terminology commonly used in contracts.


n the course of working in the film and television industry a practitioner will invariably have to deal with a variety of contracts, whether they are talent, crew, staff or simply “hopefuls”. Over the past 20 years I have been practising in this area and I still encounter frequent confusion over the meaning and use of certain words or phrases. So I thought it helpful to give a “potted” explanation of some of the more common ones. Contractor vs Employer: There is a very distinct difference between the statuses of contractor compared to that of an employee. If you are a contractor your contract can be terminated at any time so long as the company gives you the notice period set out in the contract. You are responsible for your own ACC payments and tax and are not entitled to holiday pay or leave. If you are an employee matters aren’t so simple. Regard must be had to the good faith obligations of the

Employment Relations Act imported into every agreement for the provision of services as an employee – ie, there are requirements as to oral and written warnings, time to improve, right to representation or a support person in meetings, opportunity to address any issues of concern raised etc before your employment can be terminated. Your ACC and tax are taken care of by the company and you have certain statutory entitlements to holiday, parental and sick leave. When you are reading through the agreement provided to you, be sure and check at the outset what the contractual relationship is – contractor or employee. Author vs Owner: Under the Copyright Act the author of a work is the individual responsible for creating it. However, there are exceptions. If a person creates a work in the course of their employment (as opposed to under a contract for services) the employer is the first owner. Similarly if the work is made pursuant to a commissioning arrangement or agreement. The gnarly bit here is that as currently drafted, the Act provides that the person or company commissioning the work only has to agree to pay and the copyright vests in him/her/it. Moral Rights: In short, moral rights are the right to be identified as the author of a work and the right to prevent someone from treating that work in a derogatory manner. Only an individual may hold moral rights;

not a company. So if the agreement at hand is with a company providing the services of an individual, the company cannot waive the individual’s moral rights – this needs to be done by a side letter from the individual confirming his or her agreement to the terms that the company has entered into and an acknowledgment of part or full waiver of these moral rights. Consideration vs Inducement: For an agreement to be legally binding there are three necessary components – offer, acceptance and consideration. The “consideration” can be as small as a peppercorn – the courts will not look into whether it is “good enough” consideration but whether the parties have agreed upon and named the consideration that they are happy with. Often you will see the phrase “In consideration of the payment of $1.00 (receipt of which is acknowledged) and other good and valuable consideration”. This creates the necessary consideration to form a binding agreement. Sometimes though, there is no consideration in the form of money or benefit changing hands and in this situation words along the following lines can be used: “As an inducement for you to film, photograph and/or record me, I grant to you…” etc. By using the words “as an inducement” the producer sets up the proposition that, because of the conduct of the participant, the producer has changed its position in reliance on that conduct and thus is entitled to hold the individual to it.

Licence vs Assign: These two words mean entirely different things yet so often people use them interchangeably. A licence gives a third party the right to do certain designated acts in relation to a work and may be limited as to use, time and territory. An assignment is the sale of the rights in the work to a third party. Once the sale has taken place the creator no longer has an interest in or ownership of the work. The difference is critical. Gross vs Net: Often in American agreements reference is made to a share of Gross Receipts. However, almost invariably, agreements here refer to a share of Producer’s Net Profit or Net Receipts. This is because the producer can only pay a percentage of what he/she/it actually receives after all the deductions inherent in the distribution and exploitation of a film or programme. If a producer was required to pay a percentage of Gross Receipts the producer could end up having to pay the relevant percentage to a third party regardless of whether the money trail finally trickled its way down to him/her/it. At the end of the day, if you are uncertain about what any word or clause means, never be afraid to ask. It’s better to know upfront what you are getting into, rather than kicking yourself down the track when you suddenly realise you don’t have the rights you thought you had.

For all your legal needs in the film and television industries. Valuing Creativity | | 09 282 4599 NOVEMBER 2011 24 McLaw_ONFILM_Ad_f_newph.indd 1

18/10/11 2:04 PM

To insure or not to insure? I

t has been widely publicised that New Zealand’s Insurance industry is in turmoil, following the global financial crisis and the devastating wake of the Canterbury earthquake – both of which continue to take their financial toll on the industry’s resources. One of the main issues brought to light by the devastating earthquake events of February 2011 in Canterbury is not as uncommon as you would think. Business Interruption or Loss of Profit Insurance, as it is also known, has been missing or removed from many companies’ insurance programmes for a number of years. This has traditionally been due to either the cost of the insurance being too high or

the perceived risk of a claim occurring being too low. Either way, the fundamental result is the same. If you have a business, and are in business to make a profit, then you need to insure that profit in case the worst case scenario happens. To highlight the point further take a moment to consider what you would do, think, and feel about the following scenario: You are commissioned to film a short documentary for a large New Zealand TV network about the effects of the first earthquake (September 2010) in Christchurch. You have the location booked, the equipment hired and the host is paid and en route to the location for filming the next day.

The morning of the shoot (February 2011) a more powerful devastating earthquake hits the city and your equipment and your location are gone. You no longer have a location or equipment to shoot with, your staff are shaken and unable to work and to top it all off you will not be able to fulfil your contract to produce the short documentary. You will lose your income from this shoot and in turn your profit, yet you will still have paid numerous costs towards the set up. How will you cope and recover from this worst case scenario? Interruption to business plans was a reality for many businesses in Christchurch earlier in 2011. Admittedly, insurance is not the be all and end

all, and should not be used to replace contingency planning and common sense. However, a well-structured insurance programme coupled with an industry specialised insurance broker can make a world of difference. Unsurprisingly, Marsh has noticed a “flight to quality” since the February earthquake as businesses seek alternative advice in respect of their insurance arrangements. It is important to note that one insurance policy is not the same as the next and subtle wording differences may not seem significant, but have a substantial impact at the time of a claim. Published by arrangement: Marsh New Zealand (

Continued from page 23

applications to the Screen Directors Guild of New Zealand (SDGNZ) office, leading executive director Anna Cahill to suggest the current process is being pretty much ignored. “We call it blind approval,” says Cahill. SDGNZ, like other organisations, has lost revenue from non-objection letter fees. “But we are much more concerned about the loss of connection with producers and the ability to talk to them and advocate for directors when I do get them on the phone,” says Cahill. “We talk to people a lot when we’re doing non-objections. It’s an opportunity to connect with them in a significant way, and talk to them about using New Zealand directors.” SPADA and the Techos’ Guild (NZ Film & Video Technicians Guild), agree that the early contact is beneficial. Techos’ president Alun Bollinger says one the advantages of the system as it was prior to February was the discussion with the production company. “Quite often that worked in every-

body’s favour and a local was employed and everybody was quite happy with the result. At least there had been a discussion, whereas now we will have no idea who’s coming in,” says Bollinger. He says the discussion was not just about crews’ jobs, it was about things like local practices such as health and safety and looking after sensitive locations. “Though it isn’t part of the immigration brief, inevitably the two things are tied together. It pays to have local personnel on a shoot – particularly location managers, or safety personnel, first assistant directors and suchlike. That’s the real danger – now there’s not even room for discussion,” he says. “It’s a lot more subtle than looking at the numbers of jobs,” says Bollinger. The tendency is to make us second class citizens whereby heads of departments come in and pick up a workforce here. It’s a fine workforce, but is that really helping our profile as a world class industry? That is what is undermined, perhaps unwittingly.”

NOVEMber 2011


A legal view

The issues and pitfalls of oral agreements In many cases, oral agreements can be as legally binding as written contracts. But, as David McLaughlin discusses, oral agreements have their own set of issues to consider.


any people are naturally cautious about what they sign when it comes to their commercial dealings in the film and TV industry. However, given that a mere informal conversation can in certain circumstances also form the basis for a legally binding agreement, are we all equally careful about what we say? It may surprise you to know that rather than being confined to a few limited exceptions, the basic position

contract. The key issues here are that a clear offer has been made by one party and accepted by the other party, the subject matter of the agreement is certain and that some type of value is exchanged between the parties. This last point really just ensures that gratuitous promises aren’t legally enforceable. In other words if I agree to do something for you, then I have to get something in return – in most cases this will be money!

That overly enthusiastic agreement given over a few drinks to commit your services or money and help someone develop that questionable vanity project could potentially come back to bite you. at law is that a contract does not have to be in writing nor be signed to be legally binding. So yes, that overly enthusiastic agreement given over a few drinks to commit your services or money and help someone develop that questionable vanity project could potentially come back to bite you. Although oral agreements are in theory legally binding, as with all things legal there are a few caveats. In order to be legally binding an oral agreement must satisfy all the same criteria required for a written



Obviously not all informal conversations will meet the standards required for a legally binding agreement to exist. However, what the above does show is that it’s possible that you can be contractually bound without ever seeing a written contract. In some ways this may not sound like such a bad thing. Oral agreements certainly sound like a much quicker and less expensive way of concluding business than exchanging contracts and getting the lawyers involved. However, the process of

getting an agreement in writing actually has some significant practical benefits. The most important of these is that in the process of drafting and negotiating a written agreement, the parties have more opportunity to address the details of the deal. This means that you’ve got a much better chance of ensuring everything that needs to be covered is covered. It also provides ample opportunity for any honest misconceptions between the parties to be identified early on. For example, the different assumptions made by parties to an oral agreement as to the timing of payment under the agreement may not become apparent in the course of a conversation. But as any decent written contract will specifically address such a key issue, the written contractual process gives the parties an opportunity to identify and address such misconceptions before launching into the project together. Another more legal benefit of having a written contract as opposed to relying on an oral agreement is that if a dispute ever does arise between you and the other party then you obviously have something very certain to fall back on. It’s much easier to convince someone to be reasonable when you have in black and white what they previously agreed to do, as opposed to descending into arguments about each of your recollections of a particular conversation, which can be even more uncertain if there were no other witnesses. One more good reason to steer away from oral agreements is that there are some situations where the law requires agreements to be made in writing. For example, assignments or exclusive licences of copyright

need to be in writing. Also, many written contracts specify that any further changes to them can only be made when recorded in writing and signed by both parties. If you’re not aware of these particular instances where written and signed agreements are actually required you may subsequently find that the agreement you reached with the other party orally is hard, if not impossible, to enforce. It should also be remembered that within our industry we have documents such as the Blue Book, which deals with the engagement of crew, and the Pink Book, which deals with the engagement of cast. Failing to ensure you clearly build into any agreement (which for the sake of certainty and completeness really has to be done in writing) the applicable industry agreed norms provided for in these documents can cause you significant practical problems down the track, even if you may otherwise have an enforceable legal agreement. • 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 (

Across the ditch

Hissy fits and box office successes Our expat spy provides his idiosyncratic take on the Aussie film and television industry.


ynda La Plante, famous author and writer of such iconic TV shows as Prime Suspect, threw by JAMES BONDI a notable hissy fit when Screen Australiaâ&#x20AC;&#x2122;s assessment team rejected a script she had written about Jean Lee, the last woman hanged in Australia. Actress Nicole Kidman and director Gillian Armstrong were reportedly attached. La Plante claimed the script assessors couldnâ&#x20AC;&#x2122;t see the point in doing the film because Lee was not a very nice person. That didnâ&#x20AC;&#x2122;t stop Mike Newellâ&#x20AC;&#x2122;s 1985 feature Dance with a Stranger, about Ruth Ellis, the last woman to be hanged in Britain, from being a success. As she was a murderess, one might assume Ms Ellis was â&#x20AC;&#x153;not a very nice personâ&#x20AC;? either. Without having read the script itâ&#x20AC;&#x2122;s impossible to pass judgement, and with Screen Australia muzzled and unable to publicly discuss the details of individual assessment meetings for reasons of confidentiality, Ms La Plante gets the last word. She spat the dummy right out in an ABC radio interview: â&#x20AC;&#x153;I think any young writer that is forced to go before Screen Australia and be treated

by these three idiots... itâ&#x20AC;&#x2122;s an outrage. They showed no respect to a writer.â&#x20AC;? Another arrogant Pom? Or not? Weâ&#x20AC;&#x2122;ll never know. *** ctress Marziah Vafamehr, Iranian star of the Iran/Australia co-pro My Tehran for Sale, has incurred the very real wrath of the Iranian Prosecutorâ&#x20AC;&#x2122;s Office for Culture and Media. The film depicted social issues in Iran and the limitations imposed on its artists. Ms Vafamehr has been sentenced to a year in jail and 90 lashes, and is currently on bail as she awaits the results of an appeal. Some of the loony fringe of the NZ industry, who made threats of death and violence towards various Kiwi actors and union officials during The Hobbit dispute, should pause and reflect. Mouthing off about inflicting harm on those you disagree with may make you feel great, but nothing will really happen under our rules. Unfortunately, what Ms Vafamehr is now facing is the real thing. *** ew local flick The Cup tells a heartstrings-tugging story of jockey Damian Oliverâ&#x20AC;&#x2122;s ride to win the 2002 Melbourne Cup on Irish horse Media Puzzle. The release was



timed just before this yearâ&#x20AC;&#x2122;s Cup Carnival, and got good media coverage from that. Directed by that experienced twitcher of emotional reins Simon Wincer, and starring The Castleâ&#x20AC;&#x2122;s Steve Curry, the film pulled in over A$800,000 in its first weekend, but enthusiasm then dwindled as its target race goers got back to the serious business of punting on real live nags. *** nother local film to open was The Hunter, starring Willem Dafoe and Sam Neill. It didnâ&#x20AC;&#x2122;t do so well, taking only A$186,000 by its second weekend. The story of a hunter going after the last surviving Tasmanian tiger looks fantastic, with DOP Bob Humphreys revealing the spectacular beauty of the Tasmanian wilderness. The performances ainâ&#x20AC;&#x2122;t half bad either, although the story unfolds slowly. I wouldnâ&#x20AC;&#x2122;t go so far as Melbourne film critic Leigh Paatschâ&#x20AC;&#x2122;s comments that â&#x20AC;&#x153;a strong cast and bewitching setting are wasted on a so-so soooo-sloooowwww Australian dramaâ&#x20AC;Śâ&#x20AC;? Not too many would have let his verdict â&#x20AC;&#x201C; â&#x20AC;&#x153;a dull and achingly pretentious taleâ&#x20AC;? â&#x20AC;&#x201C; influence them, given his customary distaste for any film made by locals.



utâ&#x20AC;Ś all is well with the dish lickers! Doggie flick Red Dog now exceeds A$20m in box office takings. Mr Paatsch surprised us all by actually liking that movie, even though he prefaced his review with â&#x20AC;&#x153;A majority of Australian feelgood films are doomed to fail.â&#x20AC;? Yeah, right Leigh. Millions of Australian filmgoers must be questioning whether they had made a wise decision buying tickets for The Adventures of Priscilla, Queen of the Desert; Strictly Ballroom; The Castle; The Dish; Bran Nue Day; Murielâ&#x20AC;&#x2122;s Wedding; Crocodile Dundee and the like. If only we all had his razor-sharp insight, weâ&#x20AC;&#x2122;d all know exactly what sort of films we should be making. *** mmy Award winning Oz actor Guy Pearce is back working in Melbourne on Bad Debts and Black Tide, two telemovies based on crime writer Peter Templeâ&#x20AC;&#x2122;s Jack Irish novels. Produced by Essential Media and Entertainment for the ABC, the productions underline the public broadcasterâ&#x20AC;&#x2122;s commitment to quality local drama, for which we are all truly thankful. Directed by Jeffrey Walker, Kiwi actors Roy Billing and Marshall Napier both have major support roles.




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NOVEMber 2011


Production listings

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


Breigh Fouhy, Andrea Bates, Alex Way, David Coggington, Amy Malloy, Eppie Bowler, Mike Tilton, Chantal Renee Samuela, David McCartney, Dan Coddington, David Austin, Jimmy James, Sean O’Connor, Jonathan Gilbert, Rachel King, Gabriel Henry



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

Feature prod co Eternity Productions prod/dir/ writer Alex Galvin exec prod Michael Stephens DP Matthew Sharp prod mgrs Catherine Juniot, Sophie Gregory prod asst Amanda Berryman 1st ADs Kendall Finlayson, Lisa Fraser-Clark 2nd AD Anne Jaeger cont Marian Angeles f/puller Bryson Rooney cam assts Kim Thomas, Graham Smout gaffer Lee Scott b/ boy Daniela Conforte lx assts Jan Kleinheins, Sally Cunningham, Royce Goddard, Sam Wynn key grip Will Matthews dolly grip Brett Saunders grip asst William Flanagan snd rec Aaron Davis boom Lance O’Riley w/robe Larissa McMillan w/robe asst Daria Malesic art dept Anna Brown art assts Fern Karun, Ryan Roche m/up Julia O’Neil, Lucy Gargiulo sfx Bill Hunt prod des Robert Flynn loc mgr John Patrick data wrangler Symon Choveaux unit Cameron McCulloch stills Robert Johnson runners Mike Potton, Ryall Burden eds Patrick Canam, Nick Swinglehurst asst ed Kevin Dubertrand ADR Darren Maynard cast Elliot Travers, Geraldine Brophy, Dean Knowsley, Alan Brunton, Liz Kirkman, Simon Vincent, Kirsty Peters, Rachel Clentworth, Renee Sheridan, Amy Usherwood, Ralph Johnson, Jessica Manins, April Phillips, Ben Fransham, Nigel Harbrow, Tom Rainbird, Raquel Sims, Lucy Smith, Alana Henderson, Laurence Walls, Amy Tsang


POST PRODUCTION A BEND IN THE ROAD NZFC funded short prod co Alpha Bristol Films prod Gemma Freeman dir/writer Rollo Wenlock DP Simon Baumfield hd art Kasia Pol eds Charlie Bleakley, Michael Horton cast dir Tina Cleary asso prod mgr Georgiana Taylor 1AD Del Chatterton stunts Rodney Cook cam asst Graham Smout lx Byron Sparrow grip Wayne 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 snd des Matthew Lambourn cmpsr Stephen Gallagher dialogue ed Christopher Todd snd fx ed Jeremy Cullen 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

COMPOUND Feature prod co D S Productions prod/dir/writer Dale Stewart exec prods Dale Stewart, Graeme Gilby prod Jacqui Gilbert DP Mathew Harte 1st cam asst Roko Babich 2nd cam asst Dale Stewart 1st ad Candice Crow boom op Chanel Simpson prod mgr Jacqui Gilbert prod assts Jono Bevin, John Gilbert, Joseph Gilbert gaffer Mathew Harte gaffer asst Roko Babich adv John Gilbert m/up Sarah Taylor, Zoe Boyle, Anna Brock, Simone Faets ed Dale Stewart ed assts Ben Fowler, Chris Tarpey colourist Allan George cmpsr/ mus Gabrielle Gilbert snd/foley/snd post prods Nadav Tabak, Alex Ward loc Spookers cast Te Kaea Beri, Richard Lambeth, Nikki Christensen, Russell Wills, Debbie Foster, Omar Al-Sobky, Tim Hammersley, Tonci Pivac, Campbell Cooley, Mike O’Sullivan, Jacqui Gilbert, Tim Schijf, Jennifer Lopsi, Dale Stewart, Andires Mentz, Chad Mills, Gareth Paget, Andy Sophocleous,

NZFC Escalator Salvagepunk Western prod co Existence dir Juliet Bergh prods Mhairead Connor, Melissa Dodds writers Juliet Bergh, Jessica Charlton based on a concept by Juliet Bergh, Jessica Charlton, Philip Thomas script adv Graeme Tetley 1AD/asso prod David Norris prod asst/trainee Jess McNamara prod acct Lyndsay Wilcox casting dir Tina Cleary, The Casting Company DP Jessica Charlton 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 Grayson Gilmour 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

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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

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

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

KIWI FLYER Feature NZFC, NZ on Air, Kiwi Flyer Productions prod Tim Sanders dir/writer Tony Simpson writer Andrew Gunn line prod Maile Daugherty prod coord Angela da Silva asst prod coord Jimmy Hayes 2nd prod coord Louise Allan run Sam Booth acct Ian Nobin 1AD Fraser Ross 2AD Reuben van Dorsten 3AD Rachel Bristow prod des Ken Turner art coord Kim Turner onset art Alexandra Turner props byr/coord Kevin Butson art asst Russell Menary art run Delainy Kennedy DP David Paul 1AC Focus Matt Tuffin 2AC Graham Smout data wrang Alastair Mckenzie cast Neill Rea (Fly Casting) pub/cast coord Sian Clement stills Joni Anderson caterer La Petite Fleur chaprn Kerry Fleming cost des Jill Alexander cost s/by Haley Lukies cost asst Sophie Hodge script sup Karen Alexander ed Paul Maxwell asst ed Nicki Dreyer gaffer Adrian Hebron key grip Hamish McIntyre grip asst Bret Saunders b/boy Mark Matchett loc mgr Graham Thompson scout Michaela Blackman m/up sup Jean Hewitt m/up sup assts Kate Fox-Heywood, Poppy MacPhedran safety Willy Heatley, Damian Molloy snd rec Ben Vanderpoel boom op Nikora Edwards stunts Steve McQuillan unit man Josanne Tane post prod Images & Sound cast Edward Hall, Tikirau Hathaway, Tandi Wright, Dai Henwood, Vince Martin, Myer van Gosliga, Doug Colling

RUNAWAYS 35mm NZFC funded Short prod co Candlelit Pictures

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

SIONE’S 2: Unfinished Business Feature prod co SPP (09 839 0999) prods John Barnett, Paul Davis dir Simon Bennett writers James Griffin, Oscar Kightley line prod Janet McIver acct Susie Butler prod des Tracey Collins construct mgr Nik Novis DP Marty Smith casting dir Christina Asher cmpsr Don McGlashan ed Bryan Shaw asst ed Gwen Norcliffe loc mgr Harry Harrison head m/up sup Kevin Dufty script sup Melissa Lawrence snd rec Myk Farmer pub Tamar Munch stills Jae Frew cast Oscar Kightley, Robbie Magasiva, Shimpal Lelisi, Iaheto Ah Hi, Teuila Blakely, Madeleine Sami, Dave Fane, Mario Gaoa , Pua Magasiva, Nathaniel Lees

SQUASHED Short film prod co The NZ Film & Television School prod John Reid line prod Alison Langdon exec prod Tommy honey dir Sky Admas writer/prod mgr Priscilla Rasmussen 1AD Ants Faifai DP Oren Graham art dir Bex Djentuh loc mgr Sam Spooner unit mgr Kate Hooker cam op Anthony Stewart cam asst/f/ puller Nikita Baines c/loader James Wypych grip Duncan Pacey gaffer Jesse Moriarty vid asst/rush Natasha Tylee snd rec James Carroll boom swing Sam Bryant cont Jen Metcalf props/art dep asst Tim Wells w/robe Elliot Stevenson making of/EPK Steve Goodwin

THE IMPORTANCE OF HAVING BREAKFAST Short film prod co The NZ Film & Television School exec prod Tommy Honey asso prod Alison Langdon prod John Reid writer Priscilla Rasmussen dir Sky Adams DP Oren Graham prod mgr Anthony Faifai prod asst James Wypych loc mgr Sam Spooner cam op Tony Stewart cam asst Nikita Baines c/loader Tasha Tylee vid asst Francesca Brooks grip Duncan Pacey gaffer Tim Wells snd rec James Carroll boom op Sam Bryant 1st AD Jesse Moriarty 1st AD sched Anthony Faifai cont Jen Metcalfe art dir Rebecca Djentuh art dept asst Steve Goodwin w/robe Elliot Stevenson unit Kate Hooker EPK Steve Goodwin cast dir Nikita Baines cast assts James Carroll, Francesca Brooks equip mgr Duncan Pacey

IN RELEASE BILLY T: TE MOVIE 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

Production listings 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


prod Job Rustenhoven prod mgr Suzanne Lloyd dirs Job Rustenhoven, Mike Bennet rsrchrs Marcus Turner, Michael Henriquez cams Adam Jones, Grant Atkinson snd Daniel Wardrop, Craig Mullis mus Leyton eds Owen Ferrier-Kerr, Jason Horner

THE FONTERRA SHOUT 120min prod co TVNZ Production Unit exec prod Tina McLaren prod Gavin Wood line prod Gilly Tyler prod mgr Terri MacFarlane res Nix Jaques field dir Mina Mathieson dir Rob McLaughlin

WILD AT HEART 6x60min HD doco prod co NHNZ (03 479 9799) for TVNZ exec prod John Hyde series prod Nicky Hammond prod mgr Suzanne Lloyd rsrchr Marcus Turner


8.30min short digital prod co Remnant Films writer/ dir Kelly Lyndon co prod Graeme Cash, Kelly Lyndon DP Allan George cam asst Matthew Gibson gaffer Isaiah Vaega conts Ben Cooney, Kevin Luck unit/mgr Jesse Crombie cmpsr Hal Smith Stevens art dir Kelly Lyndon sfx m/up Celeste Strewe m/up/hair Peta Winikerei w/robe Dress to Impress ed Nicholas Newton cast Neesha Poole, Grae Burton, Te Kaea Beri, Rugen Du Bray, Chelsea McEwan Millar

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 Charlotte Wanhill audio post Envy Studios



Feature NZFC 16mm prod cos RFTW, Antipodean Films, Esidarp Productions prod Maile Daugherty dir Simon Pattison writer Bob Moore line prod Judith Trye DP Jos Wheeler ed Paul Maxwell 1AD Simon Ambridge 2AD Reuben Van Dorsten 3AD Hannah McKenzie 2nd unit 1AD Hamish Gough prod coord Angela da Silva asst prod coord Donna Pearman prod acct Naomi Bowden prod runner David Cowlrick prod des Shayne Radford art dir Zach Becroft art dept coord/byr Anna Jordan art asst Dominic Miles f/ puller Graham MacFarlane c/loader Tammy Williams v/split Alex Campbell B cam 1stACs Dean McCarroll, Jason White stdcams Rhys Duncan, Grant Adams, Dana Little script sup Kat Phyn script con Nick Ward dramaturg Aileen O’Sullivan dir trnee Elena Doyle cast dir Sally Spencer-Harris cost des Kirsty Steele cost stby Ylona McGinity cost dssr Anna Reid cost asst Pearl Jolly key grip Jim Rowe grip Chris Rawiri gaffer Graeme Spence b/boy Regan Jones lx asst Ben Corlett snd rec Myk Farmer boom op Eoin Cox loc mgr Damion Nathan m/up&hair Natalie Perks m/ up asst Hannah Wilson safety Anthony Pennington, Safe Scene pub Sue May EPK Alistair Crombie stills Matt Klitscher, Marc Mateo sfx sup/armourer Gunner Ashford stunt coord Paul Shapcott unit mgr Nicki Tremain vfx sup Zane Holmes asst ed Kerri Roggio mus sup Amine Ramer comp David Long colrist Paul Lear snd des Ray Beenjes snd fx ed Hassan Lahrech dial ed Jeremy Cullen post prod Images & Sound, Park Road Post vfx house Eklektik Design lab Film Lab stock Kodak cast Tony Barry, John Bach, Teresa Woodham, Irene Wood, Ilona Rodgers, Elizabeth Mcrae, Ken Blackburn, Bruce Allpress, Elisabeth Easther, Stephanie Tuaevihi, Ian Mune, Helen Moulder, Sara Wiseman

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



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

BRING YOUR BOOTS OZ – SERIES TWO 13x26min factual/entertainment prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Ihakara Wilson pres Glen Osborne writers Dane Giraud, Ihakara Wilson DP Richard Harling cam op Lisa Moore snd op Cameron Lenart eds Tim Grocott, Yan Chengye prod mgr Zanna Gillespie

BUILT FOR THE KILL 4x60min doc prod co NHNZ co prod Nat Geo Wild exec prod Phil Fairclough series prod Ian McGee post prods Lemuel Lyes, Jacqui Crawford eds Jason Lindsey, Jason Horner, Thomas Gleeson archive prod Lemuel Lyes archive asst Steve Ting media mgr Wayne Biggs rsrchr Nigel Dunstone prod mgr Glenda Norris

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



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



2x60min HD docos prod co NHNZ (03 479 9799) for National Geographic Channel exec prod John Hyde

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

GO GIRLS 4 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Gavin Strawhan, Rachel Lang prods Chris Bailey, Britta Johnstone line prod Sharron Jackson s/liners Gavin Strawhan, Rachel Lang, Kate McDermott, Alistair Boroughs, Sam Shore, Laura Hill writers Gavin Strawhan, Rachel Lang, Kate McDermott prod mgr Linda Fenwick prod coord Kate Olive asst prod coord Sylvia Guerra script/extras coord Sarah Banasiak runner Roan Lewisham prod acct Susie Butler asst acct Natalie Millerchen dirs Murray Keane, Michael Duignan, John Laing, Britta Johnstone, Peter Salmon script sups Lisa Cook, Aria Harrison, Kat Phyn prod des Gary Mackay art dept coord Karen Mackay art dirs Paul Murphy, Emily Harris s/by props Owen Ashton, Craig Wilson prps/byr Jo Larkin gfx Sarah Dunn art dept asst Anna Rowsell, James Rennie set dec Angeline Loo set dec asst Jacinta Gibson constr mgr Chris Halligan cost des Sarah Voon cost coord Sarah Jones cost byr Shona Lee cos s/bys Sarah Aldridge, Ciara Dickens, Lee Foreman, Cecilie Bridgford s/by assts/ jr byrs Alex Carter, Ruth England drssr Alex Carter m/ up des’s Vanessa Hurley, Stefan Knight m/up/hair arts Shannon Sinton, Ana Au Kuoi 1st ADs Sarah Miln, Mark Harlen, Sophie Calver 2nd ADs Katrien Lemmens, Sophie Calver, Michelle Sowman 3rd AD Esther Clewlow DPs DJ Stipsen, Dave Cameron cam op Dana Little f/pullers Sam Mathews, Lee Allison cam asst Sam Fraser cam trnee Aleisha Frazer gaffer John Bell b/boy Chris McAllister gene op Christian Dunn lx asst Ewan Hall key grip Tommy Park asst grip Jeremy Osborn trnee grip TeOranga Witehira snd rec Richard Flynn boom op Matt Cuirc snd asst Adnan Taumoepeau loc mgr Charlotte Gardner loc coord Eddy Fifield loc asst Nina Bartlett eds Bryan Shaw, Jochen Fitzherbert, Brough Johnson, Allanah Milne asst ed Kerri Roggio casting Christina Asher cmpsr Jonathan Bree post prod Images & Sound pub Tamar Munch pub coord Lucy Ewen safety Willy Heatley, Bryce Pearce catering Rock Salt stills Jae Frew, Caren Hastings, Matt Klitscher stunts Mark Harris unit Ben Dun unit asst Josh Dun swing driver cptn Ben Dun cast Jay Ryan, Anna Hutchison, Alix Bushnell, Bronwyn Turei, Esther Stephens, Matt Whelan, Brittany Wakelin, Ingrid Park, Annie Whittle, Leighton Cardno, William Davis, Bronwyn Bradley, Michele Hine, Johnny Barker, Roy Snow, Arthur Meek, John Tui, Jon Brazier, Dan Musgrove, Laura Hill

GOOD MORNING 2011 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 Curry, Alan Henderson, Mark Owers dir asst Samantha Fisher prod mgr Dawn Aronie prod asst Ness Simons spcl projs Marcus Hamilton rsrchrs Andrew Wood, Georgia Stephens, Erina Ellis, Laura Bootham, Sally Page, 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

HINDSIGHT SEASON 2 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

HISTORY UNDER THE HAMMER prod co Greenstone TV ho prod Andrea Lamb prod Kate Peacocke prod mgr Laura Peters prod coord Siobhan Kelly rsrchr Alex Reed fund PRIME / NZOA

HOMAI TE PAKIPAKI 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


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


10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV Networks exec i/c of prod Michael Stedman series prod Alan Hall prod mgr Dayle Spavins rsrchrs Marina De Lima, Stephanie Antosca, Bridget Baylin, Jonathan Zurer, Peter Holmes, Brant Backlund, Amy Tenowich dir Sally Howell DP Kris Denton prod coord Dwayne Fowler post dirs Jacqui Crawford, Bill Morris, Peter Holmes offline eds Chris Tegg, Jack Woon, Jeff Avery

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

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

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

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

november 2011


Production listings

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

PRAISE BE 2011 prod co TVNZ prod unit TVNZ exec prod Tina McLaren prod/dir Ron Pledger prod mgr Dawn Bowater pres rsrch Chris Nichol mus dir Peter Averi

RURAL DELIVERY 7 40x30mins weekly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dir Jerome Cvitanovich, Kirsty Cooper prod mgr Iris Derks prod coord Barbie Nodwell prod asst Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan presenter Roger Bourne

SCU – SERIOUS CRASH UNIT prod co Greenstone TV ho prod Andrea Lamb prod Kate Fraser line prod Kylie Henderson post dir Nicola Griffin prod asst Rochelle Leef fund TVNZ

SHORTLAND STREET 5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Liz Adams dirs Geoff Cawthorn, Katherine McRae, Richard Barr, Wayne Tourell, Laurence Wilson, Oliver Driver script prod Paul Sonne s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith, Damon Andrews, Aimee Beatson med adv Sally Geary, Tamah Mclean script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Kinta Jennings prod sec Kylie Newman script typ Casey Whelan, Eva Yang prod acct Diane Boddy acct asst Stephanie Dahlberg loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod runner Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban tech prod George Platt tech coord Bryn Collins vis mix Fran Hodgson lx asst Chris Watkins loc DP Drew Sturge loc gaffer Drew Wright cam ops 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 Liz Thompson-Nevitt stby prps Scott McDowall, Natalie Tsuchiya art dept assts Logan Childs, Brooke Darlison, Jessica Leijh gfx coords Alex Kriechbaum, Sarah Dunn cost des Nicola Newman asst cost des Rebecca Jennings cost standbys Katie Jones, Kelly Marumaru, Keri Wheeler cost asst Rowena Smith laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Ambika Venkataiah, Katie Fell, Sophie Beddoes ed Anna Benedikter jnr ed 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 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, Matt Chamberlain, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Natalie Medlock, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid, Teuila Blakely

SPARTACUS 10x60min graphic action-drama US prod cos Starz Media NZ, Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. DeKnight prod Chloe Smith line prod Mel Turner prod dirs Michael Hurst, Paul Grinder prod mgr Helen Urban prod coord Tim Judson asst prod coord Amber Lynch prod sec Meredith Black prod assts Alan Drum-Garcia, Tom Furniss, Olivia Marshall prod runners Chris Drake, Andy Brown prod acct Sherie Wikaira asst accts Lissa-Mia Smith, Maya Abu-Mansour p/roll acct Alicia Lee acct assts Annie Baines, Clayton Smith cast dirs Annabel Lomas, Faith Martin cast coord Honor Byrne asst cast coord Amber McAllister cast drivers Andrew Burfield, Julie Gunson extras cast Anita Corcoran extras cast coord Danielle White extras cast assts Desiree Rose-Cheer, Kesha Robertson dir ep1, ep6 Michael Hurst dir ep2, 7, 10 Jesse Warn dir ep3 Brendan Maher dir ep4 Mark Beesley dir ep5 Rick Jacobson dir ep8 Chris Martin


october 2011

Jones dir ep9 TJ Scott DPs John Cavill, Dave Garbett, Rob Marsh cam ops Peter McCaffrey, Ulric Raymond, Todd Bilton 1ACs Henry West, Blair Ihaka, Jonny Yarrell 2ACs Alex Glucina, Dave Hammond, Gray Turner, Neal Wagstaff digi ops Chris Lucas, Ashley Thomas 1ADs Axel Paton, Hamish Gough, Luke Robinson 2ADs Rachael Boggs, Katie Tate, Patrick O’Connor 2nd 2ADs Aimee Robertson, Sarah Rose 3ADs Ngaire Woods, Stuart Morrice, Lynn Hargreaves, Tref Turner, Elaine Te sup art dirs Nick Bassett, Mark Grenfell, George Hamilton, Mike Becroft asst art dir Nick Connor set des Helen Strevens constr mgr Murray Sweetman lead hnd Graham Harris, Frazer Harvey 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 drssr Gareth Mills set drssr asst Angus Kerr lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/ byr Tasha Lang props asst Henric Matthiesen 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 Lesley Burkes-Harding cost sup Alice Baker asst cost des Olivia Dobson key stbys Barbara Pinn, Joan Wilson, Aleisha Hall stby Anna Voon, Naomi Campbell, Amanda Jelicich-Kane key backgrnd stby Jess Neff backgrnd stby Amethyst Parker cost byr Sara Beale wkrm sup Marion Olsen jeweller Emma Shakes key cost props Natalie McAndrews, Sally Maingay cost runner Crystel Tottenham m/up /hair des Denise Kum m/up /hair sup Vinnie Ashton onset m/up /hair sup Susie Glass, Claire Rutledge, Lauren Steward, Natasha Lees m/up /hair art Kath Rayner, Hayley Atherton, Aly Williams, Rachel Beedell, Natalie Vincetich, Jacqui Leung m/ up pros art Shay Lawrence m/up /hair dept coord Jasmine Papprill bkgrnd m/up /hair Kyra Dawkins, Carmen Te Moananui m/up /hair asst Tamara Eyre, 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, Marcus Upton gene ops Kimberly Porter, Aidan Sanders lx assts Vanessa Cotterill, John Paul McDonnell key grip Kayne Asher dolly grips Miles Murphy, Carl Venimore rig grip Jared Edley b/boy grips Peter Cleveland, Andy South crane op Daimon Wright grip assts Te Ra Tehei, Aaron Lewis, Solomon Dalton snd mix Dave Madigan, Fred Enholmer boom op Chris O’Shea snd utility Sandy Wakefield key stunt coord Stuart Thorp stunt coord Clint Elvy, Shane Dawson asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Sven Harens, Steve Yardley, Tim Christiansen sfx tech Brin Compton sfx asst Rowan Tweed safety Willy Heatley, Nick Fryer, Karl Koller 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 Romola Lang, Lucy Bowey vfx art dir Peter Baustaedter vfx concept art John Walters, Berrin Moody, Dudley Birch, Jean-Baptiste Verdier Michelle Fitz-William vfx eds Stephen McHardy, Anu Webster vfx onset sups Ben Colenso, Tim Capper vfx set coord Amanda Boock vfx set tech coord Karl Sheridan vfx asst ed Josh Bridgman vfx post coord Ryan Heelan

Milton Candish art dirs Davin Voot, Greg Allison, Nick Williams set dec assts Angela Durbin, Setu Lio s/ by assts Nick Williams, Ollie Southwell prop buy Kiri Rainey art asst Tom Willis art run Leah Mizrahi constuct mgr Nik Novis cost des Katrina Hodge cost co Rewa Lewis cost buy Sally-Ann Mullin cost dress Petra Verweij cost s/bys Ylona McGinity, Hannah Woods m/up des Kevin Dufty m/up arts Jacqui Leung, Jo Fountain, Hannah Barber stunt co Mark Harris catering Rock Salt Catering cast dir Annabel Lomas safety Lifeguard & Safety eds Bryan Shaw, Eric De Beus, Nicola Smith asst ed Gwen Norcliffe post prod sup Grant Baker post prod snd Steve Finnigan post prod coord Anna Randall vfx Peter McCully comps Victoria Kelly, Sean Donnelly pub Tamar Munch pub asst Lucy Ewen stills Jae Frew cast Emmett Skilton, Tim Balme, Dean O’Gorman, Jared Turner, Ben Barrington, Keisha Castle-Hughes, Hayden Frost, Fern Sutherland, Rachel Nash, Michelle Langstone, Eve Gordon


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

Series 2 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, James Griffin prod Simon Bennett line prods Tina Archibald, Sally Campbell writers James Griffin, Tim Balme, Ross Hastings, Fiona Samuels, Tiffany Zehnal prod mgr Jo Tagg prod coord Mariya Nakova prod sec Tim Burnell script coord Rachael McMahon prod run Olivier Campana acct Elisha Calvert asst acct Sheree Silver dirs Murray Keane, Charlie Haskell, Geoff Cawthorn 1ADs Gene Keelan, Craig Wilson, Shane Warren 2ADs Kate Hargreaves, Kylie McCaw script sups Lisa Cook, Gabrielle Lynch 3AD Ant Davies loc mgr Benny Tatton loc asst Rick Waite unit mgr Amy Russo unit asst Carlos Santos DP Marty Smith cam op Ollie Jones A f/puller Bradley Willemse B f/puller Frith Locke-Bonney cam asst Fiona Young cam train Ben Firman gaffer Nare Mato b/boy Jason Kerekere gen op Trent Rapana lx asst Eruera Sutherland key grip Gary Illingworth grip asst Conrad Hoskins snd rec Myk Farmer boom op Nikora Edwards snd asst Sandy Wakefield prod des Tracey Collins art coord Jenny Morgan set dec

THE ART OF ARCHITECT 44min prod co TVNZ Production Unit exec prod Tina McLaren prod Dana Youngman prod mgr/ prod acct Deb Cope dir Dean Cornish pres Peter Elliott sen rsrchr Sue Donald rschr Sue Killian ed Doug Dillaman

THE COURT REPORT 3 18x30min TVNZ7 prod co Gibson Group exec prod Gary Scott prod Sofia Wenborn pres Greg King cam/ snd TVNZ Avalon n/wrk Philippa Mossman

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

THE HEALTH STORY 1x90min Platinum fund doco prod co PRN films prods/dirs Paul Trotman, Malcolm Hall DP Scott Mouat cam Peta Carey

THE INVESTIGATION prod co Greenstone TV ho prod Andrea Lamb exec prod Cass Avery prod Anna Lynch line prod Kylie Croft rsrchr Nicola Wood prod coord Siobhan Kelly fund TVNZ

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

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


WHAT NOW 120min weekly live kids show pres Gem Knight, Adam Parcival, Ronnie Taulafo, Johnson Raela eds Michelle Bradford, 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 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

WHAT WOULD YOU DO? 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

POST PRODUCTION MIHARO 6 50x26min Māori language, educational series prod co Tūmanako Productions exec prod Kay Ellmers prod Kim Muriwai prod mgr Moana-Aroha Henry prod coord/art/res Casey Kaa prod asst Miria Flavell res/ comp dirs Summer Wharekawa, Jo Tuapawa pres/ dir Huria Chapman pres Whatanui Flavell reo con Hohepa Ramanui dirs Kent Briggs, Kewana Duncan, Dan Mace, Lilly Panapa, Paora Ratahi, Tui Ruwhiu, Orlando Stewart, Jan Wharekawa, Lanita Ririnui-Ryan, Ngatapa Black, Mahanga Pihama, Jo Tuapawa trnee dir Monowai Panoho cam ops Samarah Wilson, Greg Parker, Daniel Apiata, Te Rangi Henderson post prod RPM Pictures ed Charlotte Wanhill comp ed Jason Pengelly illus Zak Waipara snd post prod/anim Phill Woollams comps Joel Haines, Ngatapa Black

MEET THE LOCALS CONSERVATION WEEK SPECIAL 2011 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

PRIMEVAL NEW ZEALAND 1x60min HD doco prod co NHNZ exec prod Judith Curran prod/ed Celia Offwood host Peter Elliott cam Max Quinn rsrchrs Brant Backlund, Steve Ting prod mgr Christina Gerrie post prod snd Stacey Hertnon

SHACKLETON’S CAPTAIN 85min feature prod cos Making Movies, Gebrueder Beetz networks TVNZ, ZDF, ARTE dist ZDFE writers James Heyward, Leanne Pooley, Tim Woodhouse prods James Heyward, Andy Salek line prod Liz DiFiore dir Leanne Pooley dir assts Kelly Krieg, Olivia Garelja prods PA Katie Bolt 1AD Hamish Gough 2AD Katie Tate 3AD Andrew Burfield prod assts Ellie Callahan, Rachel Choy, Shannon Ween prod intern Lisa Brown prod runners Jasmine Rogers-Scott, CJ Withey, Emma Behrns, Nathaniel Sihamu prod des Roger Guise on set art dir Geoff Ellis propmster Paul Dulieu props mker Phil Gregory art assts Clarke Gregory, Jim Anderson constr mgr William Schmidt DP Simon Baumfield 1st cam assts Graham MacFarlane, Roger Feenstra 2nd cam assts Kim Thomas, Jacob Slovak vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot snd Myk Farmer conts Rachel Choy, Katie Theunissen gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie, Jack Gow key grips Kevin Donovan, Jim Rowe b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company spfx sup Jason Durey spfx office coord Tanya Bidois spfx snr tech Mike Cahill spfx techs Graham Nixon, Rowan Tweed, John McLaren, Eliot Naime, Michael Lawton spfx runner Gavin Ravlich cost des Suzanne Sturrock w/robe stdby Cathy Pope w/robe assts Charlotte Turner, Amber Rhodes m/ up des Davina Lamont m/up arts Michele Barber, Tash Lees, Hayley Oliver, Debbie Watson, Levonne Scott safety coords Scene Safe, Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Samuel Shelton unit asst David Shope caterers Bonifant & Saxby epk/stills Cristobal Araus Lobos, Andy Salek cams Panavision prod acc Kylie Strain ed Tim Woodhouse cmpsr John Gibson post prod sup Grant Baker vfx prod Cris Casares vfx sup Brenton Cumberpatch vfx arts Brenton Cumberpatch, Richard Borg, Dale Pretorius, Carlos Purcell vfx interns Richard Neal, Brendon Chan, Josh O’Donnell archive res Sarah Bunn cast Craig Parker, Charles Pierard, Hugh Barnard

TANGAROA WITH PIO SERIES 7 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


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