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december 2011/january 2012 N Z ’ S S CREEN P R O DUC T I O N I NDU S T RY MA G A Z I NE $7.10 incl gst

The boys are back in town 9 421902 251047

Taking care of Sione’s 2: Unfinished Business Gerard Smyth’s When a City Falls Vincent Ward comes up for Breath SPADA and APN conference roundups AFTA Awards’ winners Animation & VFX

contents Views


4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton take the path of least wind resistance. 5 Editorial A quick word from editor Steven Shaw; Cartoonist Andy Conlan looks at animation. 6 Short cuts Philip Wakefield rounds up NZ box office and television news from the NZ screen industry. 12 Conference calls Peter Parnham reports on the SPADA Conference 2011, where the plight of public broadcasting was highlighted. 13 Asia Pacific forum NZ style The Asia-Pacific Producers Network Symposium was held in Auckland in November. Peter Parnham reports. 16 Apples and Pears Gifted screenwriter and industry stalwart Rachel Lang shares her thoughts on the division of categories at the Aotearoa Film & Television Awards.

Features 9

Taking care of business

9 COVER: The boys from Sione’s Wedding are back in Sione’s 2: Unfinished Business. Photo: Jae Frew. © 2011 South Pacific Pictures Ltd.





Onfilm talks to director Simon Bennett and writers Oscar Kightley and James Griffin about Sione’s 2: Unfinished Business. 14 AFTA Awards’ 2011 winners Check out the list of winners in this year’s Aotearoa Film & Television Awards. 18 24 frames: the greatest love story ever told Emma Kelly backgrounds a new radio programme on the late Jonathan Dennis, founding director of the NZ Film Archive/Nga¯ Kaitiaki O Nga¯ Taonga Whitia¯ hua.

Animation & VFX

20 Enrico Casarosa Peter Parnham talks to Pixar Animation’s Enrico Casarosa about La Luna, a new animated short that’s creating a lot of buzz. 21 Imagination stations Onfilm hears from several animation and VFX artists about recent projects and success stories. 22

Coming up for Breath

Vincent Ward talks about his new exhibition entitled Breath, which opens at Taranaki’s Govett-Brewster art gallery in December.

Regulars 26

Film Reviews


Across the ditch


A legal view

Helen Martin discusses two films about the Christchurch quakes: Gerard Smyth’s When A City Falls and Park Kiyong’s Moving. James Bondi, our ex-pat spy based in Australia, rounds up industry news from the Lucky Country. Legal expert David McLaughlin examines the importance of merchandising rights. 29 Production listings

Volume 28, Number 11 

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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dec 2011/JAN 2012


A private view

Following the path of wind resistance As 2011 draws to a close, most everyone will be looking back on a year that has been eventful by doug coutts to say the least. To say another 750 words however, I’ll have to go into a bit more detail. It’s the end of another year and the end of an era as well. TVNZ waved goodbye to the boss after an eventful period which coincidentally coincided with the dumbing down of pretty much every aspect of local television. The pet TiVo project went pear-shaped, the news department went tabloid and any semblance of intelligent local programming went west. Despite the well-intentioned clamouring of a dedicated few, both Avalon and TVNZ 7 were issued with an in-house cease-and-desist memo. The closure of Avalon has been linked by at least one seasoned industry professional (me) to not so much cost-effectiveness as long-term petty jealousies on the part of all Aucklanders, and shutting down of TVNZ 7 was inevitable once the renovations were complete on the imposing marble frontage of the Victoria St rabbit warren. The letters S, T, A, T and E have at last been prised off and carted away to the dump, leaving BROADCASTING all by itself. In the face of all this adversity, I took the only possible course of action. When the going gets tough, the tough get going... so I went scooting. Regular readers will no doubt remember the story of my mid-life crisis.

Unfortunately it came during a time of low income so I couldn’t afford the Harley, opting instead for a Vespa-like scooter. It’s not my first – I had a real Vespa 150 Super back in the ’70s, missing out on both the real mod phase of the ’60s and the faux one in the ’80s. The new one, made in India by artisans using original Piaggio jigs but subcontinental-quality metal and rubber, is capable, according to the brochure, of motorway speeds. In reality, either the brochure is marketing hype or it refers to the 80km/h motorway speeds of the petrol crisis era. Be that as it may, to fight off an attack of the doldrums caused by the knowledge that my 18-month sinecure was about to end and the pile of washing that had needed folding for a week, I headed off the other day for Napier. It’s a four and a half hour trip by car from my place – on a scooter, in the company of other scooterists, it took about seven. There’s something about being on the open road with the breeze in your face and logging trucks passing only centimetres from your right elbow. It’s called fear and it sharpens the mind and expands the senses like nothing else on the market. The white market. Once in Napier, we scooterists gathered with other like-minded souls and traded stories about nearmisses and fantastic speeds and prodigious drinking sessions – in other words, lies – and then it was time to come home again. (I’ve always found that Napier, like the Belladonna RV150, fails to fulfil the promises

of its advertising material.) The return trip was of a similar duration, just in reverse, with stops only for petrol and/or pies in exotic places like Waipukurau, Dannevirke and Woodville. It was in Woodville, gateway to three boring provinces, that I went in search of a decent coffee to wash the pie down with. That in itself was a fruitless task, but on the way back to the scooter I was stopped by a raffle seller who suggested I part with $2 to win $40. As it’s a good idea not to antagonise the locals (a tenet not held by any character in a horror movie) and since it was a good cause to boot – in support of the local radio station – I paid up and took number 6, my lucky number ever since I won a chicken on the Lions’ chicken wheel in Petone in about 1967. The local radio station is one of the few in the country not owned by some overseas conglomerate nor programmed by a halfwit in LA, and therefore makes no money. But it seems to keep its listeners happy. And me – I got a call later that night to say number 6 had come in, for the first time since 1967, and I would be receiving the forty bucks in due course. Not so fast, I said. I’d probably just spend it on beer (and not the sort mass-produced just down the road at Mangatainoka either), I said, so it would be better if the cash stayed in the coffers and served a more useful purpose. Because when it comes to local broadcasting, you’ve sometimes got to put your money where the mouth is.

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Ed’s note Season’s greetings, very big meetings

Andy Conlan’s view


ast month I wrote about the struggle Auckland film processing company FilmLab was having with productions shot on film being few and far between. FilmLab owner Clare Rising wishes to reassure everyone that the company, based in Grey Lynn, is still in business and charging ahead. Although last year was difficult and fewer processing jobs came through the door, they’re in no danger financially and are looking forward to more projects in the new year. We also said that the Rugby World Cup may have been a factor, and that filming permits had not been issued by Auckland City for productions during the tournament. Although fewer projects are shot on film these days, Film Auckland’s Michael Brook says that for the month of September, 23 permits for filming activity were issued and for the month of October, 31 permits were issued. “Filming of large TVCs in the lower CBD area dropped off due to the infrastructure in place for RWC,� says Brook, “however neither Film Auckland or Auckland Council gave any directives that permits for filming activity would not be issued during RWC. In fact, Film Auckland sent out emails to various producers and production companies advising that all filming requests would be considered as per the norm.� In this issue Peter Parnham reports on November’s SPADA conference, where the plight of public broadcasting was highlighted from Michael Stedman’s opening address right through to the closing session at Russell Brown’s Media7. We also report back from the Asia-Pacific Producers Network (APN) Symposium, held at the Unitec campus in Auckland, which seems to have yielded some positive outcomes. Film Auckland’s Michael Brook says a number of producers are looking at projects for Auckland and New Zealand. Elsewhere, we ask animators and VFX artists about their recent projects – and we talk with the creators of Sione’s 2: Unfinished Business, which if the first movie is anything to go by, may be the feel-good local hit of the summer when it hits cinema screens on 19 January. So enjoy the issue, and until next year, keep watching NZ film and television productions! Cheers!  Steven Shaw, editor

John Harris named as Onfilm/SPADA Industry Champion


reenstone’s John Harris was named as the 2011 Onfilm /SPADA Industry Champion at the SPADA conference, held in November at SkyCity Auckland Convention Centre. Originally a print journalist – and before that, a musician in Auckland band The Bluestars – John Harris joined the NZBC in 1974 as a reporter for television and radio. When television was split into two channels, he became chief reporter in South Pacific Television’s Auckland newsroom. In

the late 1980s he joined his former colleague Neil Roberts at ground breaking production company Communicado, where he produced That’s Fairly Interesting and Heroes among others. In 1994 Harris founded Greenstone Pictures, which has won a reputation for its strong factual programming. Harris rates the following series as key in Greenstone’s evolution: The longrunning success The Zoo, fly-on-the-wall Motorway Patrol, and

the award-winning historical documentary series Epitaph. Other award-winners include Back from the Dead – The Saga of the Rose Noelle, Cave Creek – the Full Story of a National Tragedy and To Hell and Back – Tanja’s Story, which sold to UK’s Channel Five. Greenstone has also produced drama – the kidult series Secret Agent Men and the superhero show The Amazing Extraordinary Friends, which is now in its third series.


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dec 2011/JAN 2012


Short cuts

By Philip Wakefield

Sione’s sequel ushers in 2012 Kiwi box office slate

Emperor comes to Henderson



ione’s 2: Unfinished Business will open on up to 75 screens on January 19, four days after its world premiere in Auckland, at Event Cinemas’ St Lukes complex. The South Pacific Pictures’ sequel will be the first of six NZ theatrical releases scheduled for the first half of next year. The others are Two Little Boys (March 29), Kiwi Flyer (April 5), The Most Fun You Can Have Dying (April 26), and two documentaries: Shihad – Beautiful Machine will coincide with NZ Music Month in May; Costa Botes’ The Last Sione's 2: Unfinished Business. Image: Š 2011 South Pacific Pictures Ltd. Dogs of Winter is slated for mid-year. People are still in a holiday mood and “But we are well aware that people So effectively NZ rethe competition – Tinker Tailor Soldier all over New Zealand loved the first film, leases will average one a month through Spy, Hugo, The Girl With the Dragon both during its theatrical release and to June/July. subsequently on DVD and television, Moreover, with Mister Pip in post- Tattoo – will be much less intense than the back-to-back Christmas/New Year and, as such, we are running a national production (Paramount/Transmission blockbusters of The Adventures of Tintin, marketing campaign.� has yet to announce a release date), Mission: Impossible – Ghost Protocol, As well as the world premiere, there along with Compound, Eternity, ExistThe Muppets, Sherlock Holmes: A Game will be a Samoan premiere on January ence, Ghost Shark 2: Urban Jaws, and of Shadows and Puss in Boots. 18, at Apollo Cinemas in Apia. Jake, and the Gibson Group filming Fresh Sione’s 2 also will benefit from TV3 Among those attending will be seven Meat, its first feature since The Irrefutarepeating Sione’s Wedding over New of the cast – Oscar Kightley, Robbie ble Truth About Demons, 2012’s line-up Magasiva, Shimpal Lelisi, Iaheto Ah Hi, could rival this year’s, when a record- Year and this month’s CD release of the Teuila Blakely, David Fane, Mario Gaoa soundtrack. breaking 10 movies with NZFC financing – co-writer James Griffin, and producers “It will play a big role in our crosswere released (and Brother Number One John Barnett and Paul Davis. screened on the NZ International Film promotion of the film because once again “The level of anticipation for Sione’s music features heavily in the movie,� says Festival Circuit). 2 is massive,� Munch says. “Both the Sony Pictures is opening Sione’s 2 South Pacific Pictures’ head of publicity, audience and the media response have slightly wider than the original, which Tamar Munch. been very positive to date. “The first single for the film is ‘I Promlaunched on 65 screens, grossed just “We are really lucky in that in the ise’, by Savage, featuring RIA, which is over $4 million and continues to be a already getting good radio airplay.� (The almost six years since Sione’s Wedding DVD evergreen. Sony’s Andrew Cornwell reckons the music video for the single was shot last was released, a number of our key cast have grown in profile. month.) sequel could reach $5 million. “Robbie, Pua and Teuila are all curA Sione’s 2 teaser trailer went into “It’s better than your average sequel,� rently starring on Shortland Street, Dave he says. “We’re very happy with it. The cinemas in late July, and the main trailer featured as an ongoing character on story’s good – they spent a lot of time on has been playing since October. Munch says the marketing campaign Outrageous Fortune, Madeleine has had the script – and there are lots of twists her own show with SuperCity. and turns. It’s not just a continuation of is very broad: a mix of television, radio, “Last time, they were well known from print, online and outdoor advertising. the first one.� “Auckland is a key location for Sione’s bro’town and some of the boys as Naked Cornwell believes being at the tail end of the school holidays, and amid several 2, given the fact that it is the largest Samoans but this time around most of these guys are known from their roles in anniversary long weekends, will help to Polynesian city in the world and the film is set in Auckland. various mainstream projects.� maximise Sione’s 2 at the box office.

uckland Film Studios has been chosen as the NZ filming base for Emperor, a US production by acclaimed director Peter Webber (Girl with a Pearl Earring). Inspired by true events, Emperor is a political drama set within the tension and uncertainties following the Japanese surrender at the end of World War II. Filming will begin in January 2012, once casting is confirmed. The film’s production company, Corn Cob, is already constructing sets at the Henderson studios. Academy Award winning production designer Grant Major, Academy Award winning costume designer Ngila Dickson, Oscar nominee cinematographer Stuart Dryburgh and Mr Pip producer Tim Coddington will work on the production. The movie is the first major production to be filmed at Auckland Film Studios since Auckland Council Investments (ACIL), an Auckland Council council-controlled organisation, took a 100 percent shareholding in the studios in August. “It’s a major coup for Auckland and Auckland Film Studios. It will allow us to further develop our strong foothold in the New Zealand film industry and support Auckland Council’s vision for film,� says chief executive of ACIL, Gary Swift. “The film will create many jobs locally and will pump money into the domestic economy. It highlights Council’s wisdom in purchasing the remaining shares in the studios. Securing the film also helps to build New Zealand’s reputation as a world-class film location,� he says. Two days of filming will take place in Wellington, with some scenes also being shot in Japan. Emperor will be produced by Yoko Narahashi (The Last Samurai), Gary Foster (Ghost Rider, Sleepless in Seattle, The Soloist), Eugene Nomura (Tajomaru, Surely Some Day) and Russ Krasnoff (The Soloist).

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dec 2011/JAN 2012

By Philip Wakefield

Short cuts

Time moves on for ratings system

Demon producer dishes up fresh horror

ebuting ahead of the networks’ new seasons next month will be a revamped ratings system that for the first time will reveal what Kiwis watch outside of live TV. The implementation of Nielsen’s UniTAM from January 15 will be the biggest change to how NZ TV viewing is measured since Peoplemeters replaced diaries in 1990. It will show which programmes viewers record to watch when it suits them, using PVRs, like MySky+, MyFreeview or TiVo, or even games consoles and video recorders. Any viewing that is played back within seven days of transmission will be captured. UniTAM’s introduction also will expand the panel of homes measured, from 500 to 600, with the extra 20% comprising MySky households. PVR penetration in NZ is about 28%, which makes UniTAM’s implementation long overdue. However, NZ is at the forefront of its rollout – only about a dozen countries have adopted it – and is doing so now because it coincides with Nielsen and the broadcasters renewing their contract. “It’s been jointly driven by broadcasters and the ad industry,” says Think TV chief executive Rick Friesen, whose council represents free-to-air broadcasters and Sky TV. “We asked advertisers and agencies what they wanted out of a new contract – time-shifting was crucial to them. Broadcasters realised they were missing out on some viewing, and that was going to get substantially worse as consumer technology moved along.” Moreover, UniTAM is futureproofed to monitor the impact of new technology on viewing. “With ratings, you want something that is accurate and built for the future,” Friesen says. “And that’s what this is. Although the whole emphasis has been on time-shifted viewing, that’s not the only thing UniTAM does for us. It also measures devices that couldn’t be measured before. “For example, if you’re watching through a PlayStation 3 or gaming device, we couldn’t capture that before. Some TVs couldn’t be captured because they were sophisticated and the old system wouldn’t hook up to them, so we had to bypass some homes. “So that makes the system more accurate, more robust. Any new device that comes along can be measured by it.” PVR homes have a different profile to non-PVR: they have multiple TVs, are twice as likely to own an HD TV, are quicker to adopt new technology, and are likely to have children and higher incomes – all of which makes them highly desirable to advertisers. Most importantly, they watch significantly more TV. According to Nielsen, PVR homes watch 17% more peak-hour TV than non-PVR homes. PUTs, or people using TV, are expected to rise in most demographics, particularly among household shoppers and high socio-economic 25-54 year-olds in Auckland. According to Nielsen, shifting the ratings measurement from overnight (or largely live) to consolidated (one-to-seven days after broadcast) should see an upsurge in the popularity of TV drama, as this is the most time-shifted genre. That could see a series like TV One’s Justified, which was rescheduled from primetime to late-night after five weeks, given a longer run in peak-hour if its consolidated ratings hold up better than its overnight. However, Nielsen stresses “the vast majority” of viewing remains live and Friesen expects any changes in viewing trends to be evolutionary rather than revolutionary. “The majority of households won’t change because they’re the same. So we don’t expect a major shift in viewing habits overall.”



he Gibson Group’s first movie in more than a decade wraps this month. Fresh Meat is a comedy-horror about a family trapped in a suburban hostage crisis, with a Sweeney Todd twist. Tem Morrison and Kate Elliott (pictured) star. It’s being filmed on location in Wellington and at Avalon Studios, with Danny Mulheron (Rage) directing the Briar Grace-Smith (The Strength of Water) screenplay with RED EPIC cameras. Simon Baumfield (Aftershock, Shackleton’s Captain) is DoP, and Kevin LeonardJones (Aftershock, Eruption) the production designer. It’s no coincidence that producer Dave Gibson’s first movie since 2000’s The Irrefutable Truth About Demons is another horror. “It’s a good, solid, commercial genre,” he says. “It’s a terrific genre for a firsttime feature director and if you do it for the right price, you’ve a good chance of getting your money back.” Indeed, Demons is one of a handful of NZ films to return its budget and go into profit – and did so within about six months of its release. Gibson describes Fresh Meat’s budget as moderate. “It will have lots of stunts and effects and CGI. It will be quite spunky, with a lot of elements.” The Film Commission is the majority investor; it’s also being made with SPIF and private funding.

Kate Elliott in Fresh Meat. Image: supplied.

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dec 2011/JAN 2012


Short cuts

By Philip Wakefield

From big screen to small

Rating a mention



’is the season to buy NZ movies on DVD and Blu-ray. Four titles hit retail shelves this month, from new releases The Orator, Billy T: Te Movie and The Devil’s Rock to the 25th anniversary edition of Footrot Flats: A Dog’s Tale, while due in January is Holy Roller. Footrot Flats was last unleashed on DVD in 2005 but this is a remastered transfer that’s also being rounded up on Blu-ray. Surprisingly, given it’s a commemorative edition, neither the DVD nor Blu-ray includes insider tales about its production. Whereas Billy T and Devil’s Rock are out on Blu-ray, too, The Orator’s receiving a DVD-only release (albeit with Tusi Tamasese’s short film, Va Tapuia – Sacred Spaces and Music from the Orator as extras). It’s a pity Leon Narbey’s cinematography isn’t getting the high definition showcasing it deserves, especially when The Orator has grossed more than $735,000 in seven weeks and is challenging Billy T as the year’s biggest Kiwi drawcard. Ian Mune’s documentary chalked up $795,000 but distributor Sony Pictures reckons it was short-changed by the public confusing it with the TV One telemovie, Billy, which aired the same weekend Billy T opened. To eliminate any lingering confusion, the DVD and Blu-ray sleeves bear the sticker, “Not Seen on TV”. Meanwhile, yet to be seen on DVD is the Tom Scott Springbok Tour drama, Rage. The rest of the year’s NZ Sunday Theatre dramas came out on DVD within weeks of their broadcasts but there’s still no word on Rage’s debut. TVNZ Licensing doesn’t own the rights to Rage but says Billy, Bliss – The Beginning of Katherine Mansfield and Tangiwai: A Love Story are selling well and will continue to throughout the pre-Christmas period. While TVNZ won’t release sales figures for commercial reasons, industry sources say retailers are shifting little more than 100 units of each title a month. Some TV series are popular on DVD, because people like to watch episodes ad-free, back-to-back or catch up on earlier seasons of an ongoing hit. But one-off dramas are a much tougher retail proposition because they rarely offer content beyond what’s already been seen on TV for free.

V3 has started to bounce back in the ratings after a rocky year in which it and sister channel Four changed tack. Adopting a similar two-channel strategy to TVNZ with 3 targeting 25-54 year-olds and Four 18-49 year-olds, has helped MediaWorks to narrow the ratings gap with TVNZ. At the start of the year, TVNZ’s combined peak-hour share of 18-54 year-olds was 50.8% and MediaWorks’, 26.5%; by week 46, the respective figures were 40.6% and 27.4%, with TVNZ’s margin shrinking from 24.3% to 13.2% … TV3’s election week screening of Inside Child Poverty generated unusually high ratings for an Inside NZ doco (385,900 people tuned in and another 14,600 watched it online over the next two days) – partly because of its topic and partly because of its earlier time slot. But don’t expect 7.30pm to become the norm as too often the doco strand’s content dictates a later hour … TV3 also scored with its election night broadcast: for the first time, 3 News’ coverage had the lion’s share of 25-54 year olds, the audience both TV3 and TV One chase: 9% versus One’s 7.3% ... Last month TV2 notched up 150 consecutive weeks as the #1-rating network among its target audience, 18-39 year-olds, with the channel citing local shows Shortland Street, Motorway Patrol, Police 10-7, and Neighbours at War as key contributors … NZ On Air’s annual report notes 984 hours of TV were funded in 2011, the most since 2006’s 1024. But that year saw only 89 hours of drama/ comedy greenlit compared to 2011’s 121.5 hours, including, for the first time, three successful drama series on different networks ... The 10 highest-rating NZOA-funded programmes from July 2010-June 2011 were: North, National Bank Country Calendar 2010, The Investigator Special, Hyundai Country Calendar 2011, The Politically Incorrect Guide to Teenagers, Coasters, Outrageous Fortune, Sunday Theatre: Topp Twins, Sunday Theatre: Bloodlines and NZ Detectives … TVNZ dominated broadcasters funding allocations, with 58% of the kitty compared to MediaWorks’ 36%, and Prime and Maori TV’s 3% each … Twilight Saga: Breaking Dawn Part 1 grossed more than $2.5 million on 67 screens in its first seven days to become the year’s third highest-opening release, after Harry Potter and the Deathly Hallows: Part 2 ($4 million on 149 screens) and Transformers: Dark of the Moon ($2.8 million on 117 screens).

The Orator grabs Sundance spotlight


riter/director Tusi Tamasese’s Samoan language film The Orator (O Le Tulafale) has been selected to screen in the Spotlight section of the 2012 Sundance International Film Festival. The 2012 Sundance Film Festival runs from 19 to 29 January in and around Park City, Utah and is regarded as the premiere US showcase for American and


international independent film. Introduced in 2010, the Spotlight section is described by the Festival as a tribute to the cinema we love, “Regardless of where these impressive films have played throughout the world, the Sundance Film Festival is thrilled to light a marquee for them.” The Orator (O Le Tulafale) is New Zealand’s first ever submission for the Best

dec 2011/JAN 2012

Foreign Language Film category of the 2012 Academy Awards. The film premiered in the Orizzonti section of the Venice International Film Festival, receiving a Special Mention from the Orizzonti jury; the Art Cinema Award from the CICAE jury of the Festival and the CinemAvvenire Best Film Award from the jury of the Associazione Centro Internazionle CinemAvvenire.

More recently, The Orator (O Le Tulafale) script was shortlisted for the Best Feature Film Script Award of the Script Writers Awards of NZ, and lead actor Fa’afiaula Sagote was a finalist for the Best Performance by an Actor Award at the 5th Asia Pacific Screen Awards. The film was honoured with the Audience Award at the Brisbane International Film Festival.


Taking care of business Sione’s Wedding was South Pacific Pictures’ success story of 2006, winning the hearts of audiences nationwide and putting plenty of bums on seats at the cinema. Onfilm talks with the creators of Sione’s 2: Unfinished Business – director Simon Bennett and writers Oscar Kightley and James Griffin.


film sequel is a rare thing in New Zealand, but that’s what we have with the arrival of Sione’s 2: Unfinished Business. It’s being called the first NZ feature film sequel – that’s if you don’t count What Becomes of the Broken Hearted?, which although it had the same characters as Once Were Warriors, was originally a novel. And, as co-writers of the Sione’s films Oscar Kightley and James Griffin joke, it’s not the first NZ film to have a “2” in it (they cite Utu and Bridge To Nowhere). Writing the film was a long and involved process, says Griffin. “Not long after we did the first one and it worked, John [Barnett] commissioned us to come up with an idea for another film. Initially we went away from the direct sequel to the idea of just using the same ensemble of actors. We kicked around two ideas for quite a while. One of the ideas didn’t pass the John Barnett test (‘Quite an important test,’ adds Kightley, ‘X-Factor has nothing on this.’) and we drifted aimlessly until we played around with the idea of a sequel that found out where these guys were a few years later.”

It wasn’t just a matter of combining popular elements from the first film. “We had to come up with a cool story first,” says Kightley. “And hopefully it would have those same elements in essence. But it was never a case of ‘we have to have this because that’s what people loved’.” “It was almost going to be a mission related film,” says Griffin. “Something happens in the beginning of the film, a call to action and it falls upon the boys to be the Hobbits in this quest. And off they go.” Sione’s 2 reunites a large team both in front and behind the camera. The cast includes Oscar Kightley, Robbie Magasiva, Shimpal Lelisi, Iaheto Ah Hi, Teuila Blakely, Madeleine Sami, David Fane, Mario Gaoa, Pua Magasiva and Nathaniel Lees. But where Chris Graham directed the first film, this time around Simon Bennett is in the director’s chair. While it’s Bennett’s first feature film, he’s no newbie to the craft of directing. Up until recently, Bennett was head of drama at South Pacific Continued on page 10

Sione's 2: Unfinished Business. Photos: Jae Frew © 2011 South Pacific Pictures Ltd.

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Film Co-writer and star Oscar Kightley with director Simon Bennett. Photo: Jae Frew © 2011 South Pacific Pictures Ltd.

Photos: Jae Frew © 2011 South Pacific Pictures Ltd.

Taking care of business Continued from page 9

Pictures, where he was involved in the development of Outrageous Fortune, Go Girls and Sione’s Wedding. He directed episodes of Outrageous Fortune, and produced and directed telefeature Spies and Lies and the Almighty Johnsons. And way earlier than that, back in the distant 1990s, Bennett directed Shortland Street and worked as a storyliner and director on Mercy Peak. Bennett stepped back from his position as SPP’s head of drama to concentrate on his first love, directing. “I was head of drama at SPP for six years or so, which was a fantastic opportunity to learn a huge amount about the industry,” he says. “But my passion has always been about directing and being a creative producer. At times, having a staff job meant that I couldn’t pursue those aspects as much as I wanted to. It was time to throw myself back into the freelance world and be what I always felt I am, a director-producer.” Bennett says he didn’t feel like the new guy on the block for Sione’s 2 – he was involved in the development of the first Sione’s film and at one stage he was set to direct it, but he

was also producing Maddigan’s Quest at the time. “I had to choose between projects and Maddigan’s was so far down the track that I couldn’t really walk away from it at the time that the first Sione’s film was greenlit. I had been across the script development and the casting process, I’d workshopped the script with the actors and also did a little two-day promo shoot with the cast to help raise the profile of the first film for potential funders. “So I’d been involved quite closely with the first film. It wasn’t a completely foreign thing I was entering into, I was very familiar with it. I’d worked a lot with James Griffin on Outrageous Fortune, which I was executive producer on and I also directed across five of the six series. And also Almighty Johnsons and various bits and pieces so I was very familiar with James’ writing style. “I worked with the cast before, on the first Sione’s film and in various other capacities. I felt very comfortable about stepping into the Sione’s world. As a director you always want to serve the script and tell the story as clearly, vividly and as entertainingly as possible.” For Bennett, the key for the second film, which differentiates it from the first, is that the characters are five years older.

“And facing issues that are highlighted by the fact that they are all older and facing life-changing issues,” he says. “In a way it affects the style of the film a little bit, in that they’re no longer teenagers in 30-something year-old bodies. The issues they’re dealing with and confronting are different, and in a way I think the film is possibly a little more grown up than the original one.” Another difference is that the first film was nearly everyone’s first film, he says. “They were learning on the job a lot. Whereas between then and now, most of the cast have had pretty extensive acting careers. Their craft level is probably much higher than it was on the first film. There’s a lot more confidence and craft that they bring to the project. It means that as actors they really know what they’re doing and can throw themselves into the scene and the story from a confident position, which is great for a director to work with.” “It was really awesome having Simon as director,” says Kightley, “he was supposed to do the first one. I’ve been a fan of Simon’s since he used to make theatre in the 1990s.” James Griffin calls Bennett “one of New Zealand’s best performance directors, on stage and in television” and says “it was really good for him to finally get that film under his belt”.

So with a sequel, is it hard not to write the same film again? “It’s a weird thing really,” says Griffin. “There are things that you want to be similar, to have fun, that kind of thing. You do want to pay homage to the first one. But then you also want to make it totally fresh and different.” “It’s a fine balance between creating something new and cool and fun,” says Kightley, “and having the relevance there that the audience loves and cherishes. They don’t want the same film, but they want the same essence, the same emotional experience.” “One of the questions,” says Bennett, “is can you still be boys when you’re approaching middle age? The things important to you when you were younger, do they still matter as you age? And how do you confront the fact that you are an adult approaching middle age, that’s part of the theme of the film. Mortality and what to do with the rest of your life, they are grown-up issues.” “One of the things that struck me in the past weeks is the constant reference to ‘the boys’,” says Kightley. “It doesn’t matter that you’re talking about guys with three kids, they are ‘the boys’.”

Continued on page 27

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SPADA Conference

Conference calls Peter Parnham reports on the SPADA conference 2011, held at SkyCity Auckland Convention Centre in November.


Photo: Peter Parnham.

What Stedman said A

ttention span eroded by commercial television? Here is a summary of Michael Stedman’s 50-minute opening address. • The end is nigh for public broadcasting – which was about choice, diversity, depth, substance, inspiration and endless possibilities. • Natural History New Zealand was once with TVNZ, but a new, ignorant chairman took over. NHNZ escaped TVNZ’s clutches and was sold to Fox. • Stedman led NHNZ with vision, belief, and adaptability – and it grew into a big international success. • But they never forgot where they came from – a public broadcasting system. • This story illustrates the lack of understanding successive boards of TVNZ had, and continue to have, about the industry they oversee. • TVNZ’s only bottom line is the delivery of a dividend. • Unlike most developed countries New Zealand lacks regulatory controls. The elephant in the room is Sky TV, whose influence in this market is immense. • TVNZ once had a major shareholding in Sky but a short-sighted TVNZ chairman sold it. • This industry must use its gift for creativity and innovation to unite in the common goal of preserving public service broadcasting and to do that it desperately needs a strong and cohesive voice, a voice that can’t be ignored by Government.


dec 2011/JAN 2012

iven the preceding couple of days, there was something ironic about the final session of the SPADA conference this year. It was a Media7 SPADA Conference special live recording in the TVNZ headquarters atrium that was specially dressed as a set for the occasion – although a warning memo to the maintenance staff must have been overlooked, because they happily hammered away at some pipe or other regardless. The media review show featured an interview with Broadcasting Minister Dr Jonathan Coleman, who, according to Michael Stedman, is just one of a long line of meddling Ministers who have turned the industry into the victim of ongoing political manipulation, arrogance, ignorance and never-ending change. This was just one shot in Stedman’s opening salvo in the conference’s bombardment of TVNZ and its shareholder, the Government. Stedman is the managing director of Natural History New Zealand (NHNZ) and his NZ On Air John O’Shea Memorial Address opened the SPADA Conference with a lament for the threatened demise of public service broadcasting. It wasn’t all us and them. In a friendly fire incident, Stedman said few of those in the current debate have bothered to actually define what is meant by public service broadcasting. “For me public broadcasting is about choice, about diversity, about depth, about substance, it speaks to our innate curiosity, it celebrates our creative achievements, it inspires, and it is a place of endless possibilities,” he said. Stedman went on to dismiss the defunct TVNZ Charter as nothing more than a previous government’s half-hearted attempt to preserve public broadcasting. “There are those who lament the passing of the Charter as though it was something of value, believing that we will be all the poorer because of its demise. The Charter was appallingly drafted, never implemented, and didn’t make one iota of difference,” he said. It was also a Labour-led government (with a different Minister of Broadcasting) that funded public

service channels TVNZ 6 and TVNZ 7 for five years. TVNZ 6 is gone, and funding for TVNZ 7 runs out in June 2012. “If they had been serious about the importance of public broadcasting this funding would have been for at least 15 years,” said Stedman, adding that NZ On Air’s funding policies, although they may be noncommercial, are not public service broadcasting enough for his liking, as the process is controlled by the broadcasters. Stedman also took aim at Sky TV, bemoaning the lack of regulation and invoking the image of a descending pay television curtain. Much of what Stedman advocates was supported by subsequent conference speakers. His address might have been a bit short on solutions but this was no bad thing. If he had supplied all the answers in the first hour, there would have been little for the rest of the conference to do. Still, there was a sense that the sale of state assets like TVNZ wasn’t going to be enthusiastically embraced by this particular audience, although Brent Impey for one agreed with Stedman that it should go. Speaking on a panel, Impey, now unencumbered by his previous position as head of MediaWorks, surprised some with his advocacy for the role of public service broadcasting. Impey offered a solution: take the TVNZ 7 channel and give it to Maori Television, reallocating the $8 million or so of public money that TVNZ gets for Maori broadcasting. It was an idea greeted with caution by others concerned that Maori Television’s legislative remit is to protect Te Reo. They figure that if Maori TV became a general purpose public service broadcaster, Stedman might end up giving a similar address about them in a few years. The conference wasn’t all about taking shots at TVNZ. There were some welcome inspirational breaks, and some informative knowledge sessions as well. Stedman himself provided inspiration with the story of the success of NHNZ, but the Australian Storm Surfers session had better visuals

– pictures of a couple of middleaged larrikin surfers flying around the world chasing storms for the ultimate waves. This is not a television show, insisted husband and wife producers Marcus Gillezeau and Ellenor Cox, it is a global brand exploiting multiple delivery platforms that they lump together as “all-media”. “Right at the concept stage we work in a non-linear manner across every phase of production,” said Gillezeau. “The whole way through, we’re also dealing with distribution because we are rolling out our webisodes sometimes six months before the shows go to air or are released in the theatres. We go through the entire production cycle long before we deliver the primary property, the movie or television show.” This is reflected on Storm Surfers shoots – typically 30 people and 26 cameras – which are organised into a production unit, and a separate all-media unit and crew. It might be an inspiring example of a 21st century approach to commercial production, but more than one delegate noted that it still requires a goodly percentage of government funding to bring that kind of Aussie do-anything culture to the world. With the verbal artillery eventually subsiding, delegates trooped over to TVNZ to watch the recording of the kinds of current affairs interviews expected from public service broadcasting. As it happened, there was the argument between the host and the Minister about who had the most accurate memory, the rumours disguised as questions about who pulls the strings in Cabinet, the amusing video clips – it turned out this wasn’t an interview with the Minister, it was a debate against the Minister – presented in a pretty convincing 7pm primetime format. And why not? Who wouldn’t go down fighting? Then it was over for another year. And top marks to TVNZ for being jolly good about the whole thing with its sense of sportsmanship extending to after match drinks in the atrium, followed by the TVNZ shout at the Empire pub across the road.

APN Symposium

Asia-Pacific Forum NZ style The Asia-Pacific Producers Network Symposium was held at the Unitec campus in Auckland last month. Peter Parnham reports.


t was an open forum. That is the New Zealand way of doing things, and at something like the Asia-Pacific Producers Network (APN) Symposium held in Auckland recently, all sorts of people gathered and traded views. The symposium was part of the APN forum held each year in different countries. Outgoing president, Auckland producer Paul Carran, says it was the first time the annual event has ventured outside Asia and into the South Pacific. APN is a group of 80 producers set up to advance networking and develop producer relationships within the Asia-Pacific region, and key members flew in for the forum event. While the symposium was open to local producers and the media, the full schedule of the visit included a showcase tour of what New Zealand has to offer as a filming destination and co-production partner. Michael Brook, manager of host Film Auckland, says international delegates went away impressed with the programme and the hosting. “There are now projects in discussion and a number of producers are looking at projects for Auckland and New Zealand,” says Brook. The symposium opened with an address by New Zealand Film Commission ceo Graeme Mason that set the appropriate tone of encouragement. Subsequent sessions threw up some cringe-inducing moments – an unthinking reminder of the British Empire’s history in Asia from the podium, some international finger pointing comments from the floor, and some talking about people in the room as if they were not there. But that’s openness for you, and it has a certain honesty that might make it easier for visitors to look past the distractions and spot the Kiwi producers – and there are plenty of them – who see potential in partnering with producers from Asia and are not put off by the additional complexities of cross-cultural stories and cross-cultural productions. Developing co-productions with Asian countries, or anybody else for that matter, is not easy, South Pacific Pictures ceo John Barnett told the sym-

posium during a panel discussion. He says the emotions that people share are the same wherever they come from around the world – love, laughter, tragedy and triumph. “But the place in which we set them, and the way in which we tell them has to be familiar to the co-production partners,” he said. “It’s quite difficult to find partners who necessarily have the same vision about the project as you do.” Barnett says that to be successful, co-productions need to be built around stories that span different parts of the world, which is tricky to pull off because New Zealand does not share stories with other countries in the way that some continents like Europe do. For all that, the afternoon’s sevenproject pitch session showed that if co-production stories don’t lead to eventual productions it won’t be for lack of trying. Producer Maile Daugherty, with business partner Michael Bennett, pitched a new animation project. The pair are already part way through raising finance for a $15 million animated feature Downside Story in partnership with Xing Xing studios in China. Daugherty agrees that developing cross-cultural stories is difficult. “This was something we were very aware of before we embarked on our China strategy,” she says. “We looked around at many of the people who’ve gone before us. We talked to them to find out what they had learned, and made sure to incorporate that learning into our strategy. “They have a rich history and it is such a diverse country there is plenty going on. We came to realise that if we wanted to work with China we needed to be very China focused, we needed to think about the Chinese audience, almost before we thought about the international audience.” She says the goal is to make Downside Story as a co-production. “That is the hope; that is what we are working towards, the co-production treaty with China has now been in place for over a year, and it has not been utilised yet. We are one of a number of groups of producers who are all out there trying to make it happen.”

Temuera Morrison, Keisha Castle-Hughes and director Stephen Kang received honours in recognition of their talents at the APN Symposium. Left to right: Oliver Chen (Taiwan), Temuera Morrison, Paul Carran (NZ, outgoing APN president), Keisha Castle-Hughes, Stephen Kang, CY Lee (Korea, 2010 APN president). Photo: supplied.

dec 2011/JAN 2012


2011 Aotearoa Film  Rawiri Paratene, Best Lead Actor in a Feature Film for The Insatiable Moon (Holy Bucket Productions).


he New Zealand screen industry turned out in November to celebrate the country’s top talent and their achievements at the 2011 Aotearoa Film & Television Awards. Florian Habicht’s feature film Love Story was awarded Best Director, Best Editing and Best Feature Film, while Ebony Society won Best Short Film. The Insatiable Moon took home two acting titles, including Best Lead Actor in a Feature Film for Rawiri Paratene. Predicament scooped several production awards in the Feature Film categories and My Wedding And Other Secrets won Best Screenplay and Best Lead Actress. Images & Sound Best Drama went to This Is Not My Life. TV3’s Missing Pieces and The Secret Lives of Dancers took out both Reality Series categories, and television feature Bloodlines landed multiple acting accolades and Images & Sound Best Director – Drama/ Comedy. TV One was awarded Qantas Best News while the News and Current Affairs presenter categories were dominated by TV3, taking out Best News Reporting, Best News or Current Affairs Presenter, Investigation of the Year, and Journalist of the Year for Hamish Clark.


Kevin Riley, Best Cinematography Drama/Comedy, Legend of the Seeker (Prime).

Maori TV emerged with Best Current Affairs Series for Native Affairs, and continued its success in the General Television categories, picking up four awards including Kordia Best Multi-Cam Broadcast for Rise Up Christchurch.

AFTA Awards Winners 2011 Film

Best Feature Film: Love Story (Pictures for Anna) Outstanding Feature Film Debut: Josh McKenzie, The Hopes & Dreams of Gazza Snell (Eyeworks New Zealand) Best Director in a Feature Film: Florian Habicht, Love Story (Pictures for Anna) Best Lead Actor in a Feature Film: Rawiri Paratene, The Insatiable Moon (Holy Bucket Productions) Best Lead Actress in a Feature Film: Michelle Ang, My Wedding and Other Secrets (South Pacific Pictures) Best Supporting Actor in a Feature Film: Greg Johnson, The Insatiable Moon (Holy Bucket Productions) Best Supporting Actress in a Feature Film: Sara Wiseman, Matariki (Filmwork)

dec 2011/JAN 2012

Tracey Collins, Best Production Design, This Is Not My Life (Desert Road/TV One).

Best Screenplay for a Feature Film: Roseanne Liang & Angeline Loo, My Wedding and Other Secrets (South Pacific Pictures) Best Cinematography in a Feature Film: Simon Raby, Predicament (Novel Productions) Best Editing in a Feature Film: Peter O’Donoghue, Love Story (Pictures for Anna) Best Original Music in a Feature Film: Plan 9, Predicament (Novel Productions) Images & Sound Best Sound in a Feature Film: Dick Reade & Gethin Creagh, After the Waterfall (THE Film) Best Production Design in a Feature Film: John Harding, Predicament (Novel Productions) Best Costume Design in a Feature Film: Lesley Burkes-Harding, Predicament (Novel Productions) Best Make-Up Design in a Feature Film: Angela Mooar, Predicament (Novel Productions) Best Visual Effects in a Feature Film: Sauce VFX, Predicament (Novel Productions) Best Short Film: Ebony Society (Whenua Films, Grouchy Films and StanStrong) Best Performance in a Short Film: Peter Hawes, BIRD (Great Southern

Allanah Milne, Best Editing Drama/Comedy for Stolen (South Pacific Pictures/TV3).

Television) Best Screenplay for a Short Film: Tammy Davis, Ebony Society (Whenua Films, Grouchy Films and StanStrong) Outstanding Technical Contribution to a Short Film: Maria-Elena Doyle, Meniscus (Meniscus Film)

General Television

Images & Sound Best Drama Programme: This Is Not My Life (Desert Road/TV One) NZ On Air Best Comedy or Comedy Series: 7 Days (MediaWorks TV/ TV3) Ma¯ ori Language Commission/Te Ma¯ngai Pa¯ho Best Ma¯ori Language Programme: E Tū Kahikatea (Te Noni/ Ma¯ ori TV) Best Children’s/Youth Programme: Kaitangata Twitch (ProductionShed. tv/Maori TV) Best Information Programme: Whare Maori (Scottie Productions/Maori TV) Auckland Council Best Entertainment/ Factual Entertainment Programme: MasterChef New Zealand (Imagination Television/TV One) Kordia Best Multi-cam Broadcast: Rise Up Christchurch – Global Telethon (Commotion TV/Maori TV) Best Observational Reality Series: The

AFTA Awards

& Television Awards – the Winners Peter Hawes, Best Performance in a Short Film, BIRD (Great Southern Television).

Don McGlashan, Best Original Music, This Is Not My Life, (Desert Road/TV One).

Secret Lives of Dancers (Eyeworks New Zealand/TV3) Best Constructed Reality Series: Missing Pieces (Eyeworks New Zealand/ TV3) Best Performance by an Actress: Madeleine Sami, Super City (Super Fumes/TV3) Best Performance by a Supporting Actress: Rena Owen, Shortland Street (South Pacific Pictures/TV2) Best Performance by an Actor: Mark Mitchinson, Bloodlines (Screentime/ TV One) Best Performance by a Supporting Actor: Craig Hall, Bloodlines (Screentime/TV One) Best Presenter – Entertainment/ Factual: Jeremy Corbett, 7 Days (MediaWorks TV/TV3 Best Script – Drama/Comedy: James Griffin, Outrageous Fortune (South Pacific Pictures/TV3) Images & Sound Best Director – Drama/Comedy: Peter Burger, Bloodlines (Screentime/TV One) Best Director – Entertainment/Factual: Dean Cornish & Nick Dwyer, Making Tracks (Two Heads & Like Rice/C4) Kordia Best Multi-camera Direction: Darryl McEwen, MasterChef New Zealand (Imagination Television/TV One)

Florian Habicht’s Love Story – Best Feature Film, Best Director in a Feature Film, Best Editing in a Feature Film.

Best Cinematography Drama/Comedy: Kevin Riley, Legend of the Seeker (Prime) Images & Sound Best Editing Drama/ Comedy: Allanah Milne, Stolen (South Pacific Pictures/TV3) Best Original Music: Don McGlashan, This Is Not My Life (Desert Road/TV One) Best Sound Design: Chris Burt, Legend of the Seeker (Prime) Best Production Design: Tracey Collins, This Is Not My Life (Desert Road/ TV One) Best Contribution to Design: Jane Holland, Legend of the Seeker (Prime)


Best Popular Documentary or Documentary Series: Jesus The Cold Case (Red Sky Film & Television/TV One) Best Arts/Festival/Feature Documentary: I am the River (Razor Films/ Maori TV) Best Director Documentary: Annie Goldson, Brother Number One (BNO & Pan Pacific Films) Best Cinematography Documentary/ Factual: David Paul, The Banker, The Escorts, and The $18 Million (KHF Media/TV3) Best Editing Documentary/Factual: Annie Collins, The Waterfall (Watershed Films/TV One)

News and current affairs

Qantas Best News: One News (TV One) Best News or Current Affairs Presenter: Hilary Barry, 3 News – Christchurch Earthquake (TV3) Journalist of the Year: Hamish Clark, 3 News – Christchurch Earthquake (TV3) Best News Reporting: Hamish Clark, 3 News – Christchurch Earthquake (TV3) Best Current Affairs Reporting for a weekly programme or one-off current affairs special: Amanda Millar & Joanne Mitchell, Sunday – Innocent (TV One) Best Current Affairs Reporting for a

daily programme: Mark Crysell & Kate McCallum, Close Up – Webster (TV One) Best Current Affairs Series: Native Affairs (Maori TV) Investigation of the Year: John Campbell, Pip Keane & Claudine MacLean, Campbell Live – The Tsunami Aid Money Investigation (TV3) Best News Camera: Cameron Williams, 3 News – Niger Series/Airline Investigation (TV3) Best Current Affairs Camera: Martin Anderson, 20/20 – Rite of Passage (TV2) Best News Editing: Paul Sparkes, One News – Special Report CCTV (TV One) Best Current Affairs Editing: Nick Reid, 20/20 – Sitting on a Killer (TV2)

Congratulations from Kathryn Rawlings & Associates to Rena Owen winner of the 2011 Best Supporting Performance by an Actress in Television.

Ph: 64-9-378-9016 |

dec 2011/JAN 2012


This Is Not My Life, AFTA winner for Best Drama Programme. Image: Supplied.

Apples and pears Screenwriter Rachel Lang offers some constructive criticism about the AFTA Awards.


e’ve just had the AFTA awards for 2011, the event where all manner of screened works compete for gongs in various categories and a whole lot of people feel seedy the next day. I missed the Gala night, on account of a higher calling – I was at my husband’s 50th birthday – but I did go to the Craft Awards to cheer on my friends and colleagues. This was fun, but as I was there, I couldn’t help but feel a certain sense of unfairness. This wasn’t about who won or lost. No matter how it’s divvied up, the awards will always be a bit of a lottery, and that’s fine. My feeling was about the categories themselves. The AFTAs have three separate strands: TV News and Current Affairs, Features and Short Films; and Everything Else That’s On TV – which is factual, reality shows, and anything with a script. Within these strands, some of the categories are clearly defined, for ex-

ample, Best News Camera. It’s pretty clear that apples will be competing with apples here. Best Observational Reality Show – okay, that still looks like apple vs apple. However, if you work in TV drama series or comedy, or one-off telefeatures, then you’ll be an apple lumped in with a pear. If there was a tiny TV output of minimal cost and standard, this might be fair enough, but this is no longer the case. And as I was watching two costume designers compete with a VFX person for best contribution to design on TV, it was apples and pears again. (To clarify, a pear and an apple are both tasty, but they’re not the same thing. And the best pear is not the same as the best apple. And in this article at least, apples usually win.) Anyway, I guessed this too might be fair enough until I flicked though my programme to find that if you work on a feature film in one of these crafty areas, you would get the luxury of an

individual category each for makeup, VFX and costume design. I wondered why, especially when there weren’t all that many films in the running for some categories. I also started to think about other apple and pear problems. Like the performance awards for TV. If you are an actor or actress in telefeatures, drama series or comedy, it’s apples and pears. If you are nominated as a director for TV drama or comedy, apples and pears will mean an episodic director is very unlikely to ever win over the director of a one-off telefeature. The apple is bigger than the pear. As you start to work out the odds on this as a producer, you’d have to question the wisdom of bothering to shell out the $300 entry fee on your TV series nominations. (You may as well just reward your nominees by shouting them out for dinner, or buying them some book tokens.) I know the poor awards people

have to draw the line somewhere, and there can’t be a category for everything, or the awards would go on forever and we’d all be numb-bummed at 1 o’clock in the morning. But I do wonder why feature films get to do apples and apples – when everything scripted on TV is apples and pears. Is it because feature films are harder to make, or have bigger budgets? Telefeatures have the same or higher budgets than low budget features, and nothing on screen is easy to make. Is it because feature films are more popular? That doesn’t really stack up if you compare audiences for NZ drama and comedy TV against the box office for most NZ features. The only other answer I can think of is that feature films are considered intrinsically superior to other works of screen fiction. They are single works of art with a particular vision. But how can you argue that? Fiona Samuel’s telefeature Bliss (not in this

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dec 2011/JAN 2012


year’s awards) would beat the pants off say, Love Birds, as a single work of artistic vision. And telefeatures actually have more in common with features than TV drama or comedy series – apart from their method of distribution. Can it really be as simple as small screen bad, big screen good? A kind of outdated snobbery? But enough of my kvetching. Do I have any positive ideas to put on the table here? As a matter of fact, I do. Since we don’t want the awards to be any longer, I have various alternative suggestions, not all mutually exclusive. Plan A – apples and pears for all crafts! Craft contribution to design on feature films should all be one category. If it’s good enough for the make-up artists, costume designers and VFX people who work in TV to be lumped in together, then why not film? That would cut out a whole lot of categories and bring the same egalitarian spirit of apples and pears to both. But if this cuts no ice, then why not expand the craft awards to recognise costume design, make-up and VFX

in scripted TV. I’m happy to sit there for another 20 minutes to see my colleagues get a fair suck of the sav. Plan B – put apples with apples! Features and telefeatures should be eligible in all current feature film categories. They’re both one-off stories; they’re about the same length. They might be different genres and shown by different method, but they’re much more like apples. I know it would probably fry people’s brains to think of TV and film on the same footing – but why the hell not? Plan C – apples and pears goes to the movies! Combine feature and short film categories. Best script, director, cinematography, best film etc. They’re all films, which go on in the cinema – some are just a bit longer or shorter than others. I know Plan C would cause howls of protest. Feature film and short film – being treated the same? They are not the same at all! But this is the same reasoning that is applied to scripted TV of different durations and types. If apples and pears works for one strand – why not another?

Can it really be as simple as small screen bad, big screen good? Plan D – separate apples from pears in at least a few TV categories! A comedy series is not the same as a drama series is not the same as a telefeature. If there are enough of them about in a given year, how about a category for a best of each – rather than Best Programme, which is a nonsense category. If there’s enough demand, you could separate telefeatures and series for directors and actors too, or even writers. If there are too many, bung a few into the craft awards, put on a couple of extra bottles of wine. We’d be happy with that. Naturally, I am very biased about all this, and happy to declare it, since I mostly work on TV drama/comedy series. But the fact is TV generates reasonable fees for the awards, and there is now lots of it, in different scripted formats – hoorah! So why not expand, rather than do

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apples and pears – and make TV feel like the poor relation – when we are clearly not? Our people pass between the two worlds quite seamlessly. And lest you think I am a sore loser, some of the series I’ve worked on did quite well this year. This Is Not My Life won Best Drama Programme (even though it was a series). Catching up with people at the awards was fun as always, and they were well run and organised. So ups to the AFTA organisers. But I still think the TV categories need a rethink, or more flexibility to recognise that we’ve grown as a strand within a strand. We are as busy as features, worth as many or more dollars – and we make good, popular, quality entertainment, which NZ audiences like. One size does not fit all anymore when it comes to TV drama and comedy at the awards.


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24 frames: the greatest love story ever told Emma Kelly listens in to a new radio programme about the late Jonathan Dennis, founding director of the New Zealand Film Archive/NgaÂŻ Kaitiaki O NgaÂŻ Taonga WhitiaÂŻhua.

Jonathan Dennis. Photo: Gareth Watkins.


n the early 1960s a small boy living at The Hermitage Hotel at Mt Cook was sent to boarding school in Christchurch. Being a boy who liked to be with his family where he could play with dolls or sit in the dark watching 16mm films with the hotel guests, he did not get along with the others at school. He felt threatened and bullied and so he escaped as often as he could to the elegant surroundings of the Regent Theatre to watch films, often attending â&#x20AC;&#x153;the 11 oâ&#x20AC;&#x2122;clock, 2 oâ&#x20AC;&#x2122;clock, 5 oâ&#x20AC;&#x2122;clockâ&#x20AC;Ś toâ&#x20AC;Ś envelop myself in other worldsâ&#x20AC;?. Later his uncle Ron



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Oâ&#x20AC;&#x2122;Reilly, head of Christchurch Library and himself an avid film society member and modern art collector, would drive him around the Canterbury plains describing films heâ&#x20AC;&#x2122;d seen such as Antonioniâ&#x20AC;&#x2122;s Blow Up. Through these experiences the boy developed an â&#x20AC;&#x153;addictionâ&#x20AC;? to film which was to shape his life and his career. His name was Jonathan Dennis. Gareth Watkins has created a new radio programme about Jonathan to mark the 10th anniversary of his death from cancer on January 24 2002. Starting with a recording Watkins made with interviewer Elizabeth Alley in Jonathanâ&#x20AC;&#x2122;s home a month before he died, he has re-edited this piece into a multi-layered soundscape reminiscent of The Film Show Radio NZ film reviews Jonathan became well known for in the 1990s. It is rich with sounds from films such as the chopping of wood from Mana Waka (1990, directed by Merata Mita, edited by Annie Collins and produced by Jonathan Dennis and the NZFA), sound effects of a rotary dial telephone as Jonathan describes being banned from access to the telephone at boarding school, and the music Jonathan loved. Jonathan Dennis was the founding director of The New Zealand Film Archive/NgaÂŻ Kaitiaki O NgaÂŻ Taonga WhitiaÂŻ hua. The programme reflects both Jonathanâ&#x20AC;&#x2122;s diverse contribution to NZ film heritage and also the close friendship shared by Elizabeth, Gareth himself and Jonathan. The self reflexivity of the piece is touching as it reveals Garethâ&#x20AC;&#x2122;s desire to capture the sounds of Jonathan at the typewriter, or in the kitchen, â&#x20AC;&#x153;so I can rememberâ&#x20AC;?. We hear Elizabeth Alley, the consummate professional interviewer crying as she tries to ask Jonathan, her friend and interview subject, about his cancer, which he knows will soon kill him. In the 1970s Jonathan was involved with experimental theatre company Amamus with Sam Neill, Anna Campion, Paul and Denise Maunder and others and also worked for the Film Society (mostly, he said, â&#x20AC;&#x153;so I could programme films I wanted to seeâ&#x20AC;?). Concurrently an older generation of filmmakers and producers, as well as archivists and arts administrators, was

dec 2011/JAN 2012

undertaking a campaign to pressure the government into supporting the creation of a Film Commission to help the development of the nascent film industry. It was decided in 1978 that the then interim Film Commission would be responsible along with National Library, Archives and others, to protect the nationâ&#x20AC;&#x2122;s film heritage. As the momentum developed, Jonathan and Clive Sowry (the only professional film archivist in the country, employed by the National Film Unit) began to investigate the state of the nationâ&#x20AC;&#x2122;s film heritage, parts of which were stored in bunkers at Shelley Bay in the form of nitrate film, which is flammable. They were concerned by the deteriorating images they found and responded by creating a publicity campaign to support the development of a Film Archive. Jonathanâ&#x20AC;&#x2122;s experience in theatre was a great skill, and aided him in the ongoing media campaign on radio, television and newspapers, which was necessary to ensure the Archive as a charitable trust received enough funding. Film producer Bridget Ikin notes, â&#x20AC;&#x153;Jonathan was a marvellous showman. His gifts were his passionate enthusiasm for â&#x20AC;&#x201C; coupled with his phenomenal knowledge of â&#x20AC;&#x201C; films. And then there was his determination to share his passion, by creating special film events around the country. Iâ&#x20AC;&#x2122;ll never forget some of the screenings of restored early MaÂŻ ori films that I was lucky enough to attend, in remote marae and halls. The excitement in the audience was palpable. He always made these events specific and imbued with memorable meaning.â&#x20AC;? After receiving a QEII Arts Council grant to study film archiving, Jonathan and his partner Fredrik Hendricks spent a couple of years visiting the greatest film archives in North America and Europe as well as Egypt. Upon their return in 1981 to NZ, Dennis became the first employee (and founding director) of the New Zealand Film Archive, supported by a board of film champions and volunteers. As Professor Emeritus Roger Horrocks says, Jonathan was an â&#x20AC;&#x153;unsung hero of the film cultureâ&#x20AC;?. He goes on to explain, â&#x20AC;&#x153;People know Jonathan

but his contribution was much greater than people acknowledged. He made a great contribution through his love of film as art. Thatâ&#x20AC;&#x2122;s what the term â&#x20AC;&#x2DC;film cultureâ&#x20AC;&#x2122; implies. Itâ&#x20AC;&#x2122;s not a term thatâ&#x20AC;&#x2122;s widespread because the film world is now very commercial. Jonathan really understood the art of film, and loved the tradition of film culture, which the Europeans, especially the French, had developed. Jonathan was a real cineaste. For example he was passionate about Bresson, who was truly a â&#x20AC;&#x2DC;film-makerâ&#x20AC;&#x2122;s film-makerâ&#x20AC;&#x2122;. We urgently need more Jonathans!â&#x20AC;? In addition to his love of film, Jonathan developed a sense of the importance of the bicultural institution during the 1980s. With the help of early film star and kaumatua of the NZFA Witarina Harris (Ngati WhakaÂŻ ue), Jonathan and the Archive began tentatively to reach out to MaÂŻ ori communities to receive guidance in the appropriate process for archiving of MaÂŻ ori images and associated materials. Witarinaâ&#x20AC;&#x2122;s voice can be heard talking during the programme. She and Jonathan took New Zealand films to the US, Hawaii, Poland, Germany, France, England and Italy to promote the little known film history of our country, â&#x20AC;&#x153;warmingâ&#x20AC;? them before each screening with Witarinaâ&#x20AC;&#x2122;s knowledge of MaÂŻ ori culture. Other important guiding figures for Jonathan were filmmakers Merata Mita (Te Arawa te iwi, Ngati Pikiao te hapĂš) and Barry Barclay (Ngati Apa te iwi) who as part of the Te Manu Aute collective of MaÂŻ ori communicators challenged the Archive to become a truly bicultural entity. Part of the process included the addition of the MaÂŻ ori name for the Archive, and the introduction of â&#x20AC;&#x153;Kaitiakiâ&#x20AC;? (Guardian) agreements to ensure both physical and spiritual safety of MaÂŻ ori images. By the end of Jonathanâ&#x20AC;&#x2122;s nine years at the Archive a bicultural framework was in place which stands strong today. Filmmaker and academic Ella Henry remembers Jonathan from this time as someone who she enjoyed working alongside, and as a Pakeha who supported MaÂŻ ori regaining control of MaÂŻ ori images. 24 Frames: The Greatest Love Story Ever Told captures the enthusiasm and

It was decided in 1978 that the then interim Film Commission would be responsible along with National Library, Archives and others, to protect the nation’s film heritage. passion Jonathan felt for film and his strong sense of place in Aotearoa. Through this new radio programme made 10 years after Jonathan’s death, an opportunity arises to enjoy and reflect upon both Jonathan Dennis’ contribution to the creativity of the archive through his many works using archival records, and to ask a wider question of the place of the New Zealand Film Archive in the national consciousness. For if an archive is a biography of the nation, what does our national film collection say about us today?

• 24 Frames: The Greatest Love Story Ever Told will be broadcast on Radio NZ Concert, 7pm Thurs 19th Jan and 2pm Sun 22 Jan; and on Radio New Zealand National, 4.06pm Sun 22 Jan and 9.06pm Tues 24 Jan. • Ko Ingarihi, Ko Airihi, Ko Kotimana ōku iwi. Ko Emma taku ingoa. Emma Kelly was born in Aotearoa of English, Irish and Scottish descent. She is a PhD student in the School of Communication Studies at AUT writing a thesis entitled The Adventures of Jonathan Dennis; a critical biography of the founding director of the New Zealand Film Archive Ngā Kaitiaki O Ngā Taonga Whitiāhua.

Gareth Watkins and Elizabeth Alley with Jonathan Dennis. Photo: Gareth Watkins.

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dec 2011/JAN 2012


Animation & VFX

Dialogue with

Enrico Casarosa Peter Parnham talks to Pixar Animation’s Enrico Casarosa about a short film that is creating a lot of buzz around the world.


f you need proof of the assertion that face-to-face communication is, in truth mainly non-verbal, look no further than La Luna, a seven-minute animated short from Pixar Animation Studios. There is dialogue, but you won’t understand it. It is gibberish, but with an Italian flavour, says director Enrico Casarosa. The Pixar story artist wrote and directed the short in a process similar to short films in this country – everybody steps up a level, each personally breaking a bit of new ground in the process. The short is due for general release next year as an opener for full length Pixar animated feature Brave. Italian-born Casarosa was a presenter at AnimFxNZ, the annual animation, games and visual effects conference held in Wellington during November. He gave delegates a preview of the movie about a small boy who heads out in a boat at night with his grandfather and father, discovering for the first time the family vocation. He says Pixar shorts are very often silent, partly for ease of distribution. “I wanted to at least have some dialogue,” says Casarosa. “It is dialogue, but in some very strange language 20

that feels like an interesting hybrid of dialogue and non-dialogue. There is gesticulating and a little bit of a flavour from where I come from to the characters – and it works very well for two grumpy guys. “It is a little bit about growing up with my dad and my grandfather and them never quite getting along. They were not the easiest personalities to be around, so I tried to tell a story of a little kid that has to find their own way of doing something, or his own path in life. So I felt that there was something personal, but like so many personal things it can be pretty universal, people can relate to it and luckily that seems to come through.” He admits it can be risky telling personal stories. “In general that is a good thing in art, if you feel completely comfortable, you are making something not as interesting as it could be. “But within this short film, I gave it such a fantastic setting I wouldn’t call it a revealing kind of short. There is a little bit of not wanting to choose sides – something that kids can go through, but then I injected so many other things, which are more like a sense of wonder. I wanted to show something from the point of view of a little kid as much as possible.

dec 2011/JAN 2012

Pixar Animation’s La Luna. Images: Supplied.

“So I really have a wish that as adults we can maybe feel like little kids again for a little, and heavily on the other side, maybe kids can get positive messages to say they should trust their instinct and that they should just go for it. We have such a wonderful way of seeing the world that we almost lose when we grow up, I wanted to capture a bit of that.” He says taking the movie around the world has been a pleasure. “I have a ‘making of’ kind of presentation, so I go into pretty good detail. It’s fun to share the experience of making it and I give pretty good detail on the back story.” Casarosa is a first time visitor to New Zealand, and says the AnimFxNZ experience was great. Yet for sheer

enjoyment, he says the highlight was teaching a story class to eight to 12 year olds for two hours. “It was something that I had not tried and it was very much fun. They could not keep their hands still, they wanted to draw. We spent more time talking about what we would like to draw than anything else. “At the base of all this is telling stories and drawing, and that is where my passions come together. It was great to see them really involved and wanting to share some little stories. A couple of them have YouTube channels with stop motion animation Lego cubes – for 11 and 12 years old, they are amazingly sophisticated. That’s pretty inspiring. But at the heart of it, I just love to see them drawing.”

Animation & VFX

Imagination stations Animators and visual effects artists create fantastic worlds where the viewer’s imagination can roam free. Onfilm spoke with several artists at local animation and post houses to find out who’s been painting what.


ens, paint and brushes may be the tools of more traditional artists, but when it comes to modern animators and visual effects artists, it’s more about grunty software and ping pong balls. At Images & Sound in Auckland, the team is in the process of finishing off Shackleton’s Captain, the story of Ernest Shackleton’s 1914 failed expedition to the South Pole that got lost for two years. “It’s a New Zealand-German copro,” says Images & Sound director Grant Baker, “it’s quite a big project, a feature doco with Leanne Pooley (The Topp Twins: Untouchable Girls) directing. We came on board as the VFX provider for that. “We’re just in the process now of delivering to Germany now,” says Baker, “it’s been six months or longer of pretty intense VFX compositing.

Being on set meant Cumberpatch was able to get the data needed for the shots. “They wanted to use quite close up shots against the green screen,” says Cumberpatch, “which would be hard to get tracking markers into.” So borrowing from an idea he saw online, he attached tracking markers to the main camera. “We used witness cameras to film the camera – we were then able to object track the camera to provide motion so we could then apply the relevant motion to the background plate behind the boat.” There were lots of glowing ping pong balls all over the rig, he says. “They allowed me to get the X-Y-Z rotations – pitch, yaw and roll of the camera. Because they were shooting prime lenses and we charted each of the lenses, we were able to match that to a virtual camera.”

Shackleton's Captain. Image: supplied.

More and more films and TV series are using visual effects, either to save on shooting costs or as the story has become more elaborate. It’s a growth area. – Grant Baker, Images & Sound. Probably the biggie in there is creating water and putting boats in water.” Brenton Cumberpatch was on set visual effects supervisor and followed the whole project through to delivery. “Luckily the project had fantastic archival footage due to the Australian photographer who was on the journey,” says Cumberpatch. “We had plates and some actual movie footage from the expedition, up to a point. “We used a combination of RealFlow and Maya software to generate the plates for the water. The project was shot on RED camera. The majority of what we were compositing were the re-enactments of the men in the boats.”

“Being on set also allowed me to do the usual on set supervisor stuff – run around with my camera taking lots of contextual photos – and to be there when they had questions. When I came back I was able to brief the guys a lot more effectively; we knew what we were in for.” Cumberpatch says the biggest change he’s seen recently is the massive swing away from film-based work into the digital world. “It’s all shot on ARRI Alexas, RED cameras, each of which has their own foibles. But the basics of compositing are still the same. Software just helps you do it, quicker or slower depending on what you use.” Continued on page 22

dec 2011/JAN 2012


Animation & VFX Imagination stations Continued from page 21

“What everyone’s seeing is the uptake of a package called Nuke,” says Grant Baker, “which has become the tool of choice with VFX. The other thing is the increase in the amount of visual effects work going on. More and more films and TV series are using visual effects, either to save on shooting costs or as the story has become more elaborate. It’s a growth area.” Images & Sound has also been doing overflow work on Spartacus. “We’re a third party vendor for them,” says Cumberpatch. “The majority of stuff we’re doing for them is basically sky replacements, easing the workload for the primary vendor.” Digipost in Auckland is the primary VFX provider for Spartacus. “It’s the way it has to work going forward,” says general manager Mike Horgan, “No-one else is the size of Weta. We are trying to get bigger sized projects to work on, so we have to collaborate. The Narnia films were a perfect example," he says. “All the post houses were involved.” “It’s huge for us,” says Digipost

VFX artist Richard Betts, “we came from Legend of the Seeker, which is the long-form TV show. And Spartacus started off as long-form TV. But now in this season, we’re very much on a feature film scale. Every shot we get, everything we’re asked to do has grown exponentially. “As a company, we’ve tooled up, because we’ve learned as we’ve gone. We started with our Flame, Inferno and Flare setup. We’ve boosted that with a reasonably sized Nuke team as well, so we have the best of both worlds in terms of workflow. “There’s quite a lot of training required for Flame,” says Betts. “The artists are generally harder to come by – there aren’t as many machines around, you have to in a professional post house to get access to that equipment because it’s so expensive and it’s so high end.” “We are set up for film,” says Digipost VFX artist, Stuart Bedford, “we’re always working on films and short films. We have quite a good workflow with the Baselight, being able to grade at film res and work at

Media Design school's First Contact. Image: supplied.

The green screen revealed in Shackleton's Captain. Image: supplied.

Coming up for Breath An upcoming exhibition at the Govett-Brewster Art Gallery in New Plymouth will feature work across several mediums from acclaimed NZ filmmaker Vincent Ward. The exhibition, entitled ‘Breath’, opens 10 December and runs until the end of February before heading to Auckland galleries in mid-2012.


he exhibition coincides with the publication of a new book, called Making The Transformational Moment in Film – Unleashing the Power of the Image (with the films of Vincent Ward). Written by Dan Fleming, it will be released worldwide by Michael Wiese Books, a US publisher specialising in books for filmmakers and screenwriters. “It’s nice to take a break from film,” says Vincent Ward, “I’ve been doing film continuously since I was 18 or 19. It’s the first break I’ve taken from it, ever. I was really happy with how Rain of the Children did; I came off that feeling really good about what I was doing. “Essentially everything comes out of my two backgrounds. One is how I started, as a painter – I did Honours in Fine Arts. And the other background, which is film. It really tries to seek a meeting ground between the two.” Some of Ward’s experimentation started when he made What Dreams May Come (1998), which won an Academy Award for Best Visual Effects. The exhibition is the result of a series of experiments since then. “I went through and shredded and sifted everything I’ve ever done,” says Ward, “I extracted some essences of things, and tried to apply some sort of alchemy to them in the way they mix media and transform media, and find new expressions for them, working in four or five different mediums – video, film, paint, drawing, photography. It’s all within that range; it’s the full spectrum of exploration. “Effectively it’s been like running a laboratory for a year and a quarter. Trying stuff out – some stuff worked, some stuff didn’t.” Ward says he tries to remove from his mind anything to do with the original films. “They have nothing to do with narrative in my mind; it has to do with some expression of movement and being. A moment that conveys some sort of state of mind, a really heightened moment. Films happen to make use of that moment and it


dec 2011/JAN 2012

works within their narrative but this strips it of all the narrative and all the meaning to do with that film. “It’s all to do with the one idea. The show is called ‘Breath’ and it’s sub-titled ‘The fleeting intensity of life’. It follows up the idea of these moments that you remember, you express, that have some sort of intensity. “I’ve used metaphors of people struggling for breath, some people falling, some floating and some flying. And with that there’s an embryonic openness and vulnerability in the work that interests me.” Ward expects to be back with more feature film work in the next two or three years. “It’s been quite liberating in a sense. Film has very distinct structures, three acts, narrative structure and certain requirements to be fulfilled. This ultimately also has some aims in common – you want to communicate, you want some psychological and emotional experience, and you want some development in the work. But the way it does it is quite different.” The exhibition includes a strong VFX component. “There are ten screens and video can come up on any projector at any time, in any combination. There’s around 32 minutes of video. With the VFX work, sometimes it was just removing stuff – we did a huge shoot at Kelly Tarlton’s; there were rafts in shots and safety divers.” Shots from Rain of the Children are also used. “This takes all the bits in-between, reconstitutes it, redoes the sound, and so basically starts again from scratch.” Ward says it’ll be a fantastic experience. “It’s hard to describe; it will go straight into your consciousness. There have been studies that show that the consciousness is just a tiny part of the brain, and actually the subconscious is by far the majority of what’s going on inside us. It intrigues me, it’s a much stronger place to tap into than the narrow directional band, which is just about explaining and putting things in boxes.”

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Animation & VFX






Zia �andviwalla

Pa�k �oad were like �nights in shining armour to us. No �uestion was too dumb (there were lots of those), no task too hard and I felt as though my 15 minute short film was the most important one in the building. �hat I love about Pa�k �oad is that despite the beautiful surroundings and the yummy cut fruit they bring you at

Imagination stations Continued from page 22

film res. And also the 3D stereoscopic side as well – we just did Cadbury’s ‘Share the Joy’, a 3D interactive installation that went to shopping malls. There are all kinds of things that we can do.” Meanwhile, moving over to the animation sector, Auckland-based Media Design School won an award for its CGI-live action short film First Contact, taking the trophy for Best Sci-Fi or Horror at the Mississippi International Film Festival. The hilarious short was also nominated in the 2011 AFTA Awards in the category of Outstanding Technical Contribution to a Short Film. 3D programme leader James Cunningham directed the alien comedy, which took 14 advanced 3D production students 13 weeks, and more than 7000 hours to complete. Screenwriter Nick Ward wrote the script for the film, which features actors Paul Glover, Andrew Beattie and Simon McKinney. First Contact includes more than 55 digital effects, with digital head replacement throughout the film. Using sophisticated object-tracking and keyframe animation technology, the actors’ heads were transformed into animated aliens in the postproduction process. The digital heads were matched to the live-action footage which was then composited over digital environments. “Nick Ward wrote the script and gave it to me; I thought it was good and wanted to try it as one of the school projects,” says Cunningham. “We had a one day green screen shoot at a studio at Film Construction. Simon Riera was our DoP; it was the second one he’d done for us.” Cunningham says he felt the best

thing he could do for the students was to bring industry in. “Rather than trying to do internships where you send the students out, as long as you can control that and provide an environment that meets their educational needs and meets what the particular course needs to deliver. “For a student short, we set a pretty high level in terms of what we were technically trying to pull off. I’ve had industry people questioning the quality of the cloth solver, but that’s all real. All the clothing and stuff is the actors, all we did was replace the heads.” The head replacement was quite a challenge, he says. “I did a TV commercial a few years ago when I was at Digipost for Cascade Beer with Jesse Warne. We used the same process; we basically had these helmets with LEDs on them and object-tracked the actors’ heads. Then we replaced the actors’ heads with the alien heads.

morning tea, you can walk around in your socks, sit cross-legged on the floor and watch your film take shape in a place that makes you feel like �oyalty and at the same time makes you feel at home. I’m looking forward to spending more time there.

Park Road Post Production Ltd, 141 Park Road, Miramar, Wr……~‹v—‹ür-rg…g‹nĔÿŽg””gnÿmÿ‹£ Contact Vicki Jackways on +64 4 909 7800 or email vjackwa�s@parkrgnÿmÿ‹£ Flux Animation's Hoops and Yo-Yo Ruin Christmas. Image: supplied. 24

dec 2011/JAN 2012

Animation & VFX Which was fine most of the time, as long as the head is bigger. But when the alien head is smaller, then you have to paint things out.” It’s been a busy year at Flux Animation Studio too, says founder and animator Brent Chambers. They’ve had several large scale projects through and Chambers says the TVC market is feeling “uncharacteristically buoyant”. Flux is finishing editing on series one of their preschool show Tiki Tour, which screens daily on TVNZ. “It has been a delight,” says Chambers, “the show has evolved over the last year as we learnt what worked and what didn’t, and pushed the boundaries to see what could be achieved with restricted time frames and budgets. I am in this business because I believe what we raise our NZ children on is of absolute importance and can help to shape lives.” The studio is now commencing preproduction on series two of Tiki Tour, which Chambers says will be a “step up” in both concept and technology. Flux also recently completed a Christmas special for the US called Hoops and Yoyo Ruin Christmas. The show topped the ratings on CBS over Thanksgiving weekend, was described by LA Times as “Eye candy”, and has

Flux Animation's Tiki Tour. Image: supplied.

been nominated for an award at the International Animated Film Society’s 39th Annie Awards. A lot of sweat and toil goes into animation and VFX, but at the end of the

day, a lot of the hard work undertaken by the artists responsible is invisible to an audience. “There’s nothing better than sitting in a review after you’ve spent a day and a half on working on a

shot,” says Cumberpatch, “and the supervisor comes in, sits down, watches it through and says ‘great let’s move on’. You’re thinking ‘but that was a day and a half of my life!’”

dec 2011/JAN 2012


Film reviews

Two films about Christchurch When a City Falls: The People’s Story

NZ 2011 Frank Film, with funding from NZFC, NZOA producer/camera/writer/ director Gerard Smyth producer Alice Shannon executive producer Paul Swadel camera Jacob Bryant sound Ben Edwards, Chris Sinclair, Mike Hedges, Gilbert Lake editors Richard Lord, Ken Sparks music Richard Nunns, Aaron Tokona, Tiki Taane 105 minutes


lderly rest home inhabitants who comforted their carers, then later died from the stress of it all, a grieving family who lost a beloved husband and father, St John ambulance officers who thought the worst had happened after the first earthquake – as the subtitle indicates, this unflinching film about the 4 September and 22 February Christchurch earthquakes fills the canvas of the collective story with evocative individual highlights. You might think the hours of television earthquake footage we’ve been exposed to since 4 September have said it all, but it’s the narrative shaping – the fresh footage, the clever editing, the evocative musical score – that brings the film together and makes it riveting and new. While filmmaker Gerard Smyth uses some archival and a little television footage, and enriches his supply with some amateur footage, with painstaking determination he and

Jacob Bryant shot most of the film themselves. Born in Christchurch, Smyth for much of the film is able to maintain an observer’s stance, but his connection to the tragedy is palpable, nowhere more so than when he sheds tears on seeing the destruction of the Christchurch Cathedral of the Blessed Sacrament. Told not to film the scene where, in the chaos of the aftermath heavy machinery operators demolish a whole building instead of just the designated top floor, he hits back, “I live here”, and carries on filming. The people of Christchurch testify with plain eloquence, from Mayor Bob Parker, who says of the aftershocks, “I can hear them coming”, to the resigned earthquake victims, “the planet does what it does” and, closer to home, “the house is fucked again”. Interlaced with the personal stories are those of the wider picture, as Sir Tipene O’Regan talks about the history of the land and architects and engineers talk about the opportunities renewal offers and the human race’s ability to recover. Equally as fascinating as the talking heads sequences are the scenes shot on the fly – communities dishing out boxes of food to needy families, students and others cleaning up the tonnes of liquefaction clogging streets and homes, Japanese and

Above: The When a City Falls crew. Left to right Gerard Smyth, Richard Lord, Alice Shannon, Ben Edwards, Jen Dutton, Ken Sparks. Images: supplied.

Chinese rescuers pitching in. People who pass up this wonderful film because they think they’ve seen it all should really reconsider.

As a record and a moving tribute it’s a local documentary that should not be missed.


a week in Christchurch looking for suitable subjects, finding them on the day he was booked to fly back to Auckland. With no time for introductions, Park positioned his camera at 1pm and recorded his subjects nonstop until 3pm, in mid shot, seated on their couch. Moving is an edited version of that interview, intercut with footage taken around the rubble that was Christchurch and enhanced at times by some wistful Eric Satie piano. In style it is similar to Peter Watkins’ 14 and a half hour anti-nuclear film The Journey, in that the camera never moves and the shots are so long as to push the flyon-the-wall effect to extremes, a style which demands much of the viewer and which was too much for some in the festival audience, who gave up on Moving and walked out. I liked it, because although it was challenging to watch, its intensity did a good job bringing home the message the couple wanted to convey. “An immigrant’s life is like hitting hard ground… It hurts that the earthquake has taken it all away… We’re hoping for fewer earthquakes in the future.”

NZ/Korea 2011 director/camera/producer/editor Park Kiyong co-producer Michael Stephens co-editor Simon Zhou music Jessica Tsai


Jung Jin-suk and Lee Kyung-mi in Park Kiyong's Moving. Images: supplied. 26

dec 2011/JAN 2012

fter a business venture led to bankruptcy in Korea, Jung Jin-suk and Lee Kyung-mi moved to Christchurch in 2002, hoping to give their two sons a New Zealand education and to forge a new life for themselves. They liked New Zealand because it was not corrupt, Christchurch because it was not congested. Starting with $300 and helped by a Korean friend into a snack bar business in the CBD, they began clawing their way back to solvency, with all the family working long hours. In their fifth year they moved to a bigger restaurant, then opened another, employing 11 staff. They were not insured. The couple’s pre- and post-earthquake story, Moving, which screened at the International Film Festival in July, was made by Park Kiyong, a Korean filmmaker in New Zealand on a University of Auckland research fellowship. Feeling compelled to make a film about the earthquakes’ effects on the Korean community, he spent

– Reviewed by Helen Martin

– Reviewed by Helen Martin

Across the ditch

Whipp steps down Our expat spy provides his idiosyncratic take on the Aussie film and television industry.


he surprise news of November was the announcement from Simon Whipp, diby JAMES BONDI rector of the Actors’ Equity section of the Media, Entertainment and Arts Alliance, that he would be quitting the job at the end of 2011. Mr Whipp has worked with the union for 18 years, 12 as head of the Equity section. It is not known what his future plans are. While performers will be sad to see him go, many producers could barely conceal their glee, as Whipp has been a formidable adversary in his advocacy for performers’ rights. What many don’t realise is that while he takes all the flak, he is but an employee of the union and only carries out the instructions of the broader membership, ie, nearly all the working actors in Australia, and their elected Performers Committee. His replacement is yet to be announced, but it will be “business as usual”.

November 24 at the Gold Coast’s Convention and Exhibition Centre. The awards, claimed to be the Asia Pacific’s highest accolades in film, acknowledge the importance of film in the region which “stretches from Egypt in the west to the Cook Islands in the east and from Russia in the north and New Zealand in the south”, and is populated by 4.5 billion people representing 70 countries, covering one third of the Earth and responsible for half the world’s film output. The only NZ nomination was for the lead actor performance of Fa’afiaula Sagote in The Orator. Sagote was accompanied by a lively, colourful entourage of fellow Samoans and, while he missed out on the award (it went to Wang Baoqiang for Mr Tree), he was a very popular attendee. Best Actress was Russian Nadezhda Markina from Elena, Best Director, Nuri Bilge Ceylan for Turkish film Once Upon A Time in Anatolia and Best Film was Iranian Asghar Farhadi’s A Separation. Certainly a very impressive display of the depth of talent in our region. Kiwis spotted at the awards were film maker Armagan Ballantyne, Film Auckland’s Pete Rive, actor Roy



he fifth annual Asia Pacific Screen Awards took place on

Billing, NZFACT’s exec director Tony Eaton, and “honorary Kiwi”, actor Tony Barry. ***


e were all very sad when Melbourne film maker and animator Sarah Watt, 53, died of cancer. Her films Look Both Ways and My Year Without Sex were popular with critics and audiences alike. She leaves behind popular actor husband William McInnes and their two children Stella and Clem. RIP. ***


he union and SPAA have been at loggerheads recently over proposed Federal government guidelines relating to the importation of foreign actors. This prompted ex-SPAA president Tony Ginnane to launch into a rant at this year’s SPAA conference where he claimed “the bunch of union hooligans” were “frightened, heading for the hills and it’s our job to get out there and shoot them down”. Crikey! One had visions of future generations of bush walkers tramping the Blue Mountains and coming upon a mass grave of Home and Away

soapie stars; or the crumpled skeleton of Geoffrey Rush lying under a tree with bullet holes in the skull; or finding a bloodstained Armani frock believed to belong to a missing Cate Blanchett; or stumbling across a clearing strewn with shell casings where Rusty made his last stand. ***


s an Asia Pacific footnote to last month’s column… Iranian actress Marzieh Vafamehr is reported to have been released from jail. Her sentence was reduced to three months and she did not have to endure the 90 lashes originally imposed. ***


ave a great summer break everyone. We go into the New Year across the ditch with a healthy TV industry, but a feature slate that could be better. Who knows what the New Year will bring? I’ll be doing the usual… standing around various barbies clutching a cold stubbie, or a Kiwi sauvignon blanc, or a Barossa Valley red, listening to tall tales and true… some of which you may read in next year’s columns.

Taking care of business Continued from page 10

The trailer for Sione’s 2: Unfinished Business is very much reaching out to fans of the original film, says Bennett. “There are a lot of aspects to the film that are not touched on in the trailer quite deliberately. We want to keep the story secret as long as possible. “All the elements are still there, the irreverent humour, a fantastic sense of friendship and camaraderie between a bunch of characters played by actors who have a high level of comedic

skill. Those aspects are all there, but the story is quite different. Audiences who loved the first film will still enjoy the second film, but it will take them in a new direction as well.” With such a large cast of class clowns who all know each other well, were there any problems on set? “They were never undisciplined on set,” says Bennett. “With this kind of comedy there’s a certain anarchic sense of play which is important to

ignite that spirit in the scenes and it can filter onto set. But the thing is, it’s there for a purpose, it’s focused and it’s actually feeding the work that people are doing. It’s a really good thing, I enjoyed it thoroughly.” Bennett says working on the film has been an amazing experience for him. “It felt like a very big step in a new direction. Mainly because when you’re working on a film as opposed to series television you’re telling one

story. The attention to detail required for a big screen is so much higher than when you’re working for small screens. It was great working with the big frame and designing something to be watched on the big screen. I felt challenged and really invigorated, it has opened my eyes to something I really want to do more of.” • Sione’s 2: Unfinished Business opens nationwide on 19 January.

dec 2011/JAN 2012


A legal view

The Importance of Merchandising Rights Acquiring merchandising rights for screen projects in New Zealand is not always seen as a big concern. But, as David McLaughlin discusses, it’s an area worth serious consideration.


hen it comes to any project in the film or television industry, the biggest concern should be acquiring or making sure all necessary rights can be cleared that are required to develop, shoot and get your project out there. This needs to be your number one priority, as unless the rights are sorted there simply won’t be a film or TV project – or if there is one it’s going to be mired in “chain of title” and legal clearance issues. Once the necessary and standard rights to actually make and promote the film or TV project have been acquired, that’s often where the concern with other rights finishes. In New Zealand this is an entirely reasonable approach to take as historically, there has generally not been a commercially significant local market for merchandise and other related activities. This is not just limited to our film and TV industry. Other entertainment industries, such as our local music industry, suffer from exactly the same issues when it comes to exploiting merchandise. So although it’s fairly obvious to see why we don’t generally worry about the acquisition and exploitation of merchandising rights, it really is something that we need to reassess. We can all proudly say that NZ,

film, TV and documentary are continuing to go from strength to strength. What this means is that we will increasingly find ourselves in situations where the works of our screen industry are achieving greater and greater commercial success in overseas markets. With this success comes the opportunity to develop other income streams such as merchandise. Despite what I’ve said above, almost every option and purchase agreement for a film or TV project I’ve ever seen in NZ has included a reference to acquiring “merchandise” and usually some form of “ancillary rights” (eg, the right to create book tie-ins, stage shows etc). Quite often this is where the consideration of what these rights involve, or how they may be exploited, finishes. The terms “merchandising and ancillary rights” are thrown around as if they are set in stone. I can guarantee that most people would have a good idea of what these terms can cover, but this is not necessarily the same as what they do cover. For example, the right to make a video game based on a film or TV project was once considered an ancillary right – in other words, a right related to the film or TV property being developed. However, in recent times video games have come

to be considered much more a part of standard direct merchandising. Following on from this, where do we all think an iPhone or iPad app would sit these days? In a recent project we were advising on that was being part financed from offshore, there was quite protracted negotiation over precisely where video game rights sat in this matrix of merchandise and ancillary rights, and what this would subsequently entitle the parties (including the writer of the original work) to receive from the eventual exploitation of these rights. If a film or TV project is likely to leave our shores or even if the rights to recreate the format are likely to be sold overseas, there needs to be more focus on defining and clarifying precisely what merchandise and ancillary rights are attached. Agreements need to be very clear on whether any specific merchandising and ancillary rights will be reserved by the original rights owner. If you are optioning your rights in a property to someone else to create a screen project, then any acknowledgement of the greater potential for merchandising and ancillary rights in your project needs to come with a more frank discussion with you as to precisely which rights you are prepared to transfer and the real value of these rights.

So as you can see, outside of basic rights to make a film, TV show or documentary, there are a number of other rights that can be acquired, and in many cases this should be given greater consideration. Remember that some projects, such as those for kids, may lead themselves more naturally and directly to the successful exploitation of many of these rights. Also, when it comes to negotiating a commercial deal some realism should always be brought by all parties. Despite the potential value in merchandising and ancillary rights, nothing is worth anything unless we concentrate on striking a deal that allows us to make the best possible production we can. • 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 (

Tropfest shorts to screen at Taranaki Bowl F

inalists in Tropfest Australia, the world’s largest short film festival, are coming to New Zealand at an outdoor short film night at New Plymouth’s Bowl of Brooklands on 19 February, 2012. Coinciding with the screening of the 16 finalists’ films in Sydney, the free outdoor event will be run by the Taranaki Arts Festival Trust and will be a showcase of the best short films from the more than 700 entries expected for the 2012 Australian competition. Tropfest was started in Sydney 20 years ago by acclaimed film maker John Polson as a screening in a café for 200 people. It is now Australia's most prestigious short film competition with the finals screened to a live audience of more than 150,000 at outdoor screenings in Sydney, Melbourne, Canberra, Perth, Hobart, Surfers Paradise, Brisbane,


dec 2011/JAN 2012

Adelaide and now New Plymouth. The event is also broadcast live on television across Australia. Tropfest is also now the largest international short film event with a new competition set for New York in 2012; an Arabian competition open to film makers across the Middle East and North Africa; and imminent plans to launch in a number of other territories including London and China. The competition is open to anyone and attracts talented and emerging filmmakers as well as experienced production teams. The high calibre of the 16 finalist films will make for a highly entertaining screening, says TAFT’s chief executive, Suzanne Porter. “Australia and New Zealand share a love of film making – and the calibre of the shorts in the Tropfest final is world class so we’re really thrilled to be able to offer the only screening of

these fantastic shorts in New Zealand,” says Porter. “Tropfest continues to grow in popularity due to the exposure it offers filmmakers – and the variety and entertainment value the films bring to an audience. “Part of the beauty of Tropfest is also its simplicity. Each film can be no more than seven minutes, must be made specifically for Tropfest, and contain the Tropfest Signature Item which this year is ‘a light bulb’.” The screening at New Plymouth’s outdoor venue, the Bowl of Brooklands, will coincide with the massive outdoor screening of the finalist shorts planned for Sydney’s Domain in the Royal Botanic Gardens. The Australian event attracts some 150,000 spectators at live events around the country for a night of film celebrities, music – and of course, short films.

Production listings

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

Film IN PRODUCTION FRESH MEAT Feature NZFC prod co Gibson Group, Fresh Meat prod Dave Gibson line prod Chris Tyson dir Danny Mulheron 2nd unit dir Jason Stutter writer Briar Grace Smith prod mgr Jo Hiles prod coord Kristen Rowe prod sec Sally Cunningham rnnr Tristan Maxwell cast drivers Hayley Budulis, Gus Boyd acct Kathy Regnault 1AD Robin Wilson 2AD Emma Robinson 3AD Kevin Armstrong loc mgr Matt Kaveney loc asst Ferand Peek prod des Kevin Leonard Jones off set art dir Nick Riera on set art dir Alistair Kay sfx sup Sven Harens art dept asst Heydyn Hughes prps/ byr Michael O’Neill s/by prps Talor Wikohika art dept run Sean Black vehicle wrang Campbell Read constr mgr Russell Stoupe lead hand Sandy Wilmar strybrd art Tim Gibson DP Simon Baumfield f/puller Roger Feenstra 2nd cam DP Marty Williams vid asst Marty Lang 2nd cam asst Andreas Mahn data wrang Rajeev Mishra snd rec Tony Spear boom op Jo Fraser 2nd boom op Niclas Widfeldt cast dir Rachel Bullock extras coord Inga Boyd cont Sandra Dryden cost des Nic Smillie cost sup Chris Pickard cost s/by Elizabeth Watson cost byr Trudy Slobbe cost asst Raewyn Tong gaffer Gilly Lawrence b/boy Tony Slack lx techs Merlin Wilford, Ben Corlett, Mana Lawrence grip Murray Love grip asst Graeme Tuckett m/up hair des Hil Cook key m/up Angela Duncan m/up art Natalie Henderson, Kate Wilcox m/up asst Jasmine Fisher stunt coord Rodney Cook stunt rig Gareth Courtenay, John Osbourne, Bodie Ftizpatrick stunt perf Justin Carter, Corey Garton, Luke Hawker, Jacinth Rowland, Ra Jarden Osborne safety Neal Luka ed Paul Sutorius unit mgr Josanne Tane unit asst Jessica Keown drivers Ardy Mathews, Mark Guthrie CGI sup John Strang fac mgr Rex Potier online ed Adam Sondej EPK Mischa Malane publicist Anna Dean p/grphr Helen Mitchell, TVNZ Avalon crew Anita Burnside, Roger Wallen, Debbie Garty, Richard Lander, John Te Kiri, Pine Mill cast Temuera Morrison, Nicola Kawana, Hanna Tevita, Kate Elliott, Jack Sergent Shadbolt, Leand Macadaan, Ralph Hilaga, Kahn West, Will Robertson, James Ashcroft, Richard Knowles, Andrew Foster, Phil Grieve, Thomas Rimmer, Jed Thian, Tim Mansell, Brad Harding, Spencer Greenham, Pete Doile, Acushla-Tara Sutton, Flo Wilson

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 runr 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 runr 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 hair services Aboki safety Willy Heatley, Damian Molloy snd rec Ben Vanderpoel boom op Nikora Edwards stunts Steve McQuillan lead trolleys buldr Gordon Dacombe add trolleys Trevor Carston, Stephen Lovell unit mgr Josanne Tane post prod Images & Sound insurance AON NZ, Paul Weir, FIUA, Joe LoSordo legal Matt Emery cast Edward Hall, Tikirau Hathaway, Tandi Wright, Dai Henwood, Vince Martin, Doug Colling, Myer van Gosliga

THE CURE Digital action/thriller prod co David Gould Studios sales agents Archstone Distribution, Joker Films writer/dir David Gould prods Alex Clark, David Gould prod coord Olivia Scott prod asst Amanda Berryman runners Alistair van Hattum, Steven Charles acct Marc Tyron prod des Gim Bon art dir/sby Haley Williams byr/dress Chris Chandler art dept assts Hannah Sutherland, Heather Winship, Josh Cleary set bldr Richard Klinkhamer painter Stine Wassermann gfx Larissa McMillan intern Ruby Fitzgerald 1AD Marc Ashton 2AD Jack Nicol 3AD Keryn Johns cast dir Liz Mullane script sup Marian Angeles DP David Paul equip hire Cameraworks; David Paul, Chris Hiles f/puller Matthew Tuffin 2AC Graham Smout 3rd AC/grip Gene Warriner data wrang Josh O’Brien 2U cam Ross McWhannell 2U cam asst Manuel Czepok cost des Gabrielle Stevenson byr/sby Estelle Stroud asst/sby Rose McIntyre gaffer Adrian ‘Wookie’ Hebron b/boy Alan Wilson b/boy add Chris Murphy lx asst

Jared O’Neale fx m/up lead Naomi Lynch fx m/up art Tanya Barlow m/up intern Sarah Elford snd rec Benoit Hardonniere stunt sups Rodney Cook, Shane Rangi stunts Allan Henry, Luke Hawker spfx sup Paul McInnes vfx sup Frank Rueter fluids/fire Bodo Keller concepts/ gfx Felicity Moore sci consult George Slim experiments Richard Hall weapons Paul McLaughlin EPK Brendan Dee unit pub Sian Clement cast Antonia Prebble, Daniel Lissing, John Bach, Stephen Lovatt

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 ADR mixer Nigel Scott foley mixer Matthew Lambourn foley art Robyn McFarlane snd mixer Gilbert Lake, Park Road snd post prod Amanda Heatley 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, Breigh Fouhy, Andrea Bates, Alex Way, David Coggington, Amy Malloy, Eppie Bowler, Mike Tilton, Chantal Renee Samuela, David McCartney, Dan Coddington, David Austin, Jimmy James, Sean O’Connor, Jonathan Gilbert, Rachel King, Gabriel Henry

ETERNITY Feature prod co Eternity 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, Luke Hawker, Amy Tsang

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

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

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 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 Rogers-Scott cost Jasmin Gibson, Barbara Pinn  m/up art  Anna Hewlett  stby  w/robe Shannon Winn conty Oliver Rose catering Concierge NZ stills Adam Baines ed Peter Evans 1st asst ed Katie Ross 2nd asst ed Gideon Smit  colourist  Alana Cotton snd des Jason Fox music Paul Velat cast Jason Fitch, Leighton Cardno, Greg Johnson, Martyn Wood,  Tainui Tukiwaho, Campbell Cooley, Anoushka Klaus, Narelle Ahrens, Toby Sharpe, Deborah Rea, Julie Collis, Mick Innes, Jodie Hillock, Renee Lyons, Sam Berkley, Julian Wilson, Anna Davies

Rangimoana Taylor, David Lamese, Robert Hartley, Kahu Taiaroa, Shane Poihipi, Amalia Calder, Shaun McCluskie, Jacob Kerr, Jazz Calder

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

IN RELEASE 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 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

LIQUORTINE DREAM 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


RUNAWAYS 35mm NZFC funded Short prod co Candlelit Pictures prod Alix Whittaker writer/dir Jordan Dodson co-writer 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

SQUASH Short film prod co The NZ Film & Television School prod John Reid line prod Alison Langdon exec prod Tommy Honey dir Sky Adams writer Priscilla Rasmussen 1AD sched/prod wrap/grad sup/prod mgr Ants Faifai ed/1AD Jesse Moriarty asst ed James Wypych DP Oren Graham art dir Bex Djentuh loc mgr Sam Spooner prod coord Kate Hooker cam op Tony Stewart 1stAC/f/ puller/post prod sup Nikita Baines c/loader Natasha Tylee grip Duncan Pacey gaffer Tim Wells vid asst/rush Natasha Tylee snd rec/snd post sup James Carroll boom op/snd ed/foley Sam Bryant cont Jen Metcalf art dir Rebecca Djentuh props/art asst/making of Steve Goodwin m/up Sasha Rees w/robe Elliot Stevenson thanks to Brett Mills, Film Queenstown industry mentors Nicola Marshall, Charless Edwards, Ken Saville, Andreas Mahn. Graeme Tuckett cast Christine Raki-Noanoa, Theo Taylor,

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

dec 2011/JAN 2012


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

IN PRODUCTION ASIA DOWN UNDER 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

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

AUCKLAND DAZE 6x12min comedy webseries prod cos Brown Sugar Apple Grunt, Longline Productions exec prod Bridget Bourke n/work exec Tina McLaren prods Kerry Warkia, Kiel McNaughton, Millen Baird dir Kiel McNaughton writer Millen Baird 1AD Jimmy Scott prod mgr Natalie Frigault DP Simon Tutty ed Blair McNaughton

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



4x60min doc prod co NHNZ (03 479 9799) 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 snd Stacey Hertnon, Errol Samuelson vid post Stu Moffatt, Ulf Uchida, Doug Clifford-Marsh, Niko Levao



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

I ESCAPED A CULT 1x60 min pilot HD doco prod co NHNZ (03 479 9799) series pro Alan Hall dir Sally Howell post prod Mark Orton ed Owen Ferrier-Kerr DP Chris Denton rsrchrs Bridget Baylin, Amy Tenowich

GEM HUNTER 1x60min pilot HD doco prod co NHNZ (03 479 9799) for Travel Channel exec prod Craig Meade prod/dir Scott Sinclair prod mgr Jill Soper DP Rob Taylor rsrchr Rob Bridgman host Ron LeBlanc co-hosts Diane Robinson, Bernie Gaboury

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

NEW ZEALAND FROM ABOVE 5x43mins network ZDF Arte dist Naked Flame prod cos Making Movies, Gebrueder Beetz, Bear Cage co pro territories New Zealand/Germany/Australia exec prods James Heyward, Michael Tear writer James Heyward aerial dir Andy Salek DP Marty Williams

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 prod asst Michael Henríquez

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

COASTWATCH prod co Greenstone TV ho prod Andrea Lamb prod Megan Jones prod mgr Laura Peters prod coord Carita de Jong fund TVNZ

COUNTRY CALENDAR 2011 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

CROCZILLA 1x60min HD doco prod co NHNZ (03 479 9799) for National Geographic Channel exec prod Craig Meade dir Kate Siney DP Rob Taylor prod mgr Christina Gerrie

DESCENT FROM DISASTER 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

FRESH 16x60min prod co TVNZ Maori Department exec prod Paora Maxwell prod Lisa Taouma line prod Cam Swainson-Whaanga rsrchrs Nicola Eton, Sue Killian prod asst Mario Faumui ed Charlotte Wanhill dirs Mario Gaoa, Lanita Ririnui, Jeremiah Tauamiti, Shimpal Lelisi, Stallone Vaiaoga-Ioasa, Vea Mafile’o

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 Steve Brown prod acct Susie Butler asst acct Natalie Millerchen dirs Murray Keane, Michael Duignan,

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dec 2011/JAN 2012

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 Zoe Philpott, 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 Roan Lewisham 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, 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 2nd unit cam Max Quinn post dirs Jacqui Crawford, Bill Morris, Peter Holmes offline eds Chris Tegg, Jack Woon, Jeff Avery snd Stacey Hertnon, Errol Samuelson, Alan Gerrie vid post Stu Moffatt, Ulf Uchida

I SURVIVED…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 dirs Judith Curran, Lauren Thompson DP Alex Hubert, Eric Billman cam 2 Lindsey Davidson prod coord Supriya Vasanth post dirs Craig Gaudion, Kelly Meade, Jane Adcroft, Libby Young offline eds Cameron Crawford, Marilyn Copland, Karen Jackson, Sandy Pantall vid post Stu Moffatt, Frank Lodge snd post Stacey Hertnon, Errol Samuelson

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

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

Production listings 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, Michael Morgan 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

SIEGE 1x90min drama prod co Screentime exec prod Philly de Lacey prod Ric Pellizzeri dir Mike Smith co prod Bridget Bourke prod coord Jo Finlay asst prod coord Kate Moses prod sec Elise Billington cast dir Terri De’Ath 1AD Natasha Romaniuk 2AD Sarah Rose 3rd AD Richard Silvester on set PA Ngaire Woods prod rnr Ben Sutherland prod des Chris Elliot art dir Brant Fraser art dept coord Megan Robertson set drssr Sven Wiig prp master Seth Kelly st/ by prps Adam Bilik st/by asst Sam Evans art rnr Bonnie Kells art asst Adrian Thornton sfx/armourer Gunner Ashford sfx asst Tim Watson constr mgr Matthew Thomson constr asst Phil Hathaway vehicle wrangler Sven Bieringa DP DJ Stipsen cam op Peter Janes 1st cam 1st AC Bradley Willemse 2nd cam 1st AC Ben Rowsell 2nd AC Jacob Slovak cam trnee Nina Wells DIT Chris Lucas cont Hayley Abbott gaffer Phil Totoro b/boy Danny Fepuleai lx asst Aaron Tomlinson gene op Puna Patumaka key grip Evan Pardington b/boy grip Mike Coney grip assts Chris Smith, Andy South snd rec Adam Martin boom op Kyle Griffiths stunts Mark Harris cost des Tracey Sharman w/robe sup st/by Carmel Rata w/robe st/by asst Emma Ransley drssr Adele Hing m/up hair des Linda Wall m/up hair arts Aly Webby, Pilar Alegre loc mgr Sean Tracey-Brown loc asst Anna Boyack safety coord Robert Gibson on set safety Steve Jennings unit mgr Dominic Jones unit asst Murray Ball caterers Fit Cook Club prod acc Barbara Coston ed Margot Francis ed asst Nicki Dreyer legal Karen Soich cast Darren Young, Joel Tobeck, Mark Mitchinson, Toby Leach, Will Hall, Miriama Smith, Alistair Browning, Mark Clare, Laurie Dee, Jon Cummings, Peter Feeney, Phil Brown, Andrew Robertt, Fred McFall, Edward Peni, Kelson Henderson, Nathalie Boltt, Ray Woolf, Christine Bartlett, Stephanie Liebert, Kirk Torrance, Ross Stokes, Kim Michalis, Ross McKellar, Stephen Hall, Edith Poor, Bede Skinner, Michelle Leuthart, Peter Muller, Mark Warren, Will Wallace, Damien Avery, Lisa Chappell, Rohan Mouldey, Ingrid Leary, Greg Smith, Geraldine Brophy, Jason Whyte, Geoff Dolan, Adam Gardiner

THE ALMIGHTY JOHNSONS 2 Series 2 13x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey, James Griffin prod Simon Bennett line prod Tina Archibald 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 Simon Bennett, 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/ pullers Bradley Willemse, Peter Cunningham 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 art dirs Davin Voot, Greg Allison, Nick Williams set dec asst Angela Durbin s/by props Nick Williams, Ollie Southwell art asst Tom Willis art run Leah Mizrahi 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, Sarah Hough asst ed Gwen Norcliffe post prod sup Grant Baker post prod snd Steve Finnigan post prod coord Anna Randall vfx Peter McCully comps Victoria Kelly, Sean Donnelly pub Tamar Munch pub asst Lucy Ewen 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

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 Sam Blackley 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

VOLUNTEER POWER 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

WHAT NOW 120min weekly live kids show pres Gem Knight, Adam Parcival, Ronnie Taulafo, Johnson Raela eds Michelle Bradford, Tyler King, Stuart Waterhouse audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best, Scott Chapman, Lennie Galloway 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 INNOVATION STORIES 14 eps TVNZ7 prod co Gibson Group prod Gary Scott res Emily McDowell prod mgr Ali Black dirs Emily McDowell, Dan Salmon cams David Paul, Bed Freedman, Matt Knight ed Ben Powdrell n/wrk Philippa Mossman

MĪHARO 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

NZ DETECTIVES SERIES 2 3x45min doco prod co Gibson Group prod Alex Clark exec prod Gary Scott dir Dan Henry ed Paul Sutorius gfx John Strang, Wayne Biggs, Simon Burgin online ed/colourist Adam Sondej cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Jude Callen n/wrk TVNZ

OPERATION HERO 10x30min children’s factual entertainment prod co Gibson Group exec prod Dave Gibson prod Bevin Linkhorn dirs Dan Henry, Michael Huddleston edit Ben Powdrell gfx Tim Gibson online ed/colourist Adam Sondej cmpsr Stephen Gallagher snd post prod Phil Burton n/wrk exec Kathryn Graham n/wrk TVNZ

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

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 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 FitzWilliam 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

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

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

dec 2011/JAN 2012



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