May 2012 NZ’S SCREEN PRODUCTION INDUSTRy MaGaZINE

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Horsing around Locations and cinematography for NZ Western Good for Nothing

NZFC chief Graeme Mason on the state of the industry Geoff Lealand’s hunt for NZ’s indie movie houses

Tooling up with new cameras at the 2012 NAB Show

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may 2012contents

The contents of Onfilm are copyright and may not be reproduced without written permission. © 2012: mediaweb LimitedWhile 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 all letters addressed to Onfilm will be assumed to be intended for publication unless clearly marked “not for publication”.

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Volume 29, Number 5 Est 1983

Editor: Steven Shaw (editor@onfilm.co.nz), 021-905-804Contributors: Waka attewell, andy Conlan Doug Coutts, Helen martin, Peter Parnham, Philip WakefieldAd Manager: Kelly Lucas (admanager@onfilm.co.nz) 09-366 0443Production Manager: Fran marshall Designer: Cherie TagaloaNew Subscriptions: www.onfilm.co.nz/subscribeSubscriptions Enquiries: subs@mediaweb.co.nz, 09-529 3000Pre-press and Printers: PmP Print

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COVER: Photo: The stars of Good for Nothing, Inge Rademeyer and Cohen Holloway on location. Photo: © 2011 Mi Films Ltd.

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News and views4 A private view Onfilm columnist Doug Coutts and cartoonist Barry Linton look

for real estate in the Wairarapa.5 Editorial page It’s unofficial but it’s Kiwi Movie Month, says editor Steven Shaw;

cartoonist Andy Conlan goes location scouting.6 Short cuts Philip Wakefield rounds up NZ box office and television news

from the NZ screen industry.10 Thoughts on the screen industry New Zealand Film Commission chief executive Graeme Mason

offers his perspective on the strength of the NZ screen industry.15 Popcorn and Panini: Cinemas

and film-going in NZ Geoff Lealand has been collecting information about a very special breed of movie house – independent and art house cinemas throughout New Zealand.

24 Making Facebook count Social media sites like Facebook can help to define your business.

Ande Schurr offers encouragement to place more emphasis on social media.

Locations16 Feature: Good for something Filmmakers Mike Wallis and Inge Rademeyer headed south to

make their Western flick Good for Nothing. Peter Parnham talks with cinematographer Mathew Knight.

20 Compliance, compliance, compliance Cinematographer Waka Attewell casts his mind back to a simpler

time when there were fewer forms to fill out. 22 On the Night Shift NZ short film Night Shift, by Zia Mandviwalla, has been chosen

to compete for the 2012 Short Film Palme d’or at Cannes.

Regulars12 Tooling up: kickstarter cameras Peter Parnham takes a look at three innovative new cameras

announced at the 2012 NAB Show in Las Vegas last month.26 Reviews Helen Martin reviews local releases The Most Fun You Can

Have Dying and Rest For The Wicked.27 Across the ditch James Bondi, our ex-pat spy based in Australia, rounds up

industry news from the Lucky Country.28 A legal view Legal expert David McLaughlin discusses key clauses in option

and purchase agreements. 29 Production listings

4 may 2012 www.onfilm.co.nz

A private view

Moving in the right circlesIt’s been quite a busy month here at Couttscorp. For a start, some unex-pected work (well, it’s all unexpected

really – either that or unwanted) came through the door, which in-volved some writing on the subject of breweries. As luck would have it I’ve been researching breweries and their products for many years, and so was perfectly placed to accept the commission. And the samples.

Then the annual celebration of the futility of war, in which I play a very minor stage managerial role (in the celebration, not the fighting) turned up out of the blue – again.

Add to that the regular gigs which take up approximately four hours a week and you can see why things were a bit hectic for a while.

The upside to the irritation of this sort of disruption to the freelance lifestyle is of course oodles of money in the bank account. Especially if everything comes in at once – which it did early in the week. So I decided to embark on a course of action, approved by that nice Mr Key, and mortgage myself to the hilt buying investment properties.

Initially I was looking at former state rentals in the immediate area, but then the Onfilm cheque arrived, swelling the kitty to a size where I could quite possibly extend my search to some of the smaller South Pacific islands.

But I’m not a proud Kiwi for nothing, so I stayed local. Well,

by doug coutts

almost local – the other side of the vast Rimutaka range was beckoning.

The thing about the Wairarapa is that for many years it was the breeding ground of yokels and National cabinet ministers, often at the same time. Over the years it’s become slowly gentrified and improvements to the rail and roading systems have meant it’s now a viable option to live in the country and work in the capital. For instance, they’ve spent a year taking out 20 me-tres of winding road on the southern side of the hill, shaving minutes off the time it takes to get from there to the bottleneck on the northern side.

Leaving in good time, and freshly toileted just in case, I headed north armed with the property papers and a suitcase full of cash. Passing quickly through Featherston, where gentri-fication has only managed to get as far as tar seal on the main street, I arrived at Greytown, which is as close to Akaroa as you’d ever want to get – trendy cafes, leafy boulevards, two working cash machines – all without having Bob Parker as your mayor. It was there that I’d arranged to meet Jonquil, the million-dollar real estate agent.

And there she was, sitting in the weak autumnal sun sipping an organic soy latte from a charming French farm kitchen (franchises may still be available in your area).

“No need to stand,” I said and sat down. She glanced admiringly at my bulging suitcase and cleared a space on the table.

“I’ve put together a portfolio of suit-able properties,” she said, starting up the iPad. “Where shall we start?”

I had already set my heart on Lake Ferry or Martinborough, so suggested we start there. Jonquil shook her head.

“Nothing left in either I’m afraid. We might have to look further north. Grey-town is still relatively untouched.”

“Fine by me.”“Now then,” she said, “we need to get

a few details sorted out. How many?”How many what, I wondered. “Bed-

rooms or bathrooms?”“No, silly, blockbuster movies. How

many have you directed?”“None.”“Oh, what about ordinary feature

films?”“None.”The smile left Jonquil’s face. “So

you’re a producer? That means Grey-town might be difficult. But there’s still Carterton.”

I confessed I was not a producer ei-ther. A frown managed to break its way through the day-old botox.

“This is going to be difficult then,” Jonquil said through gritted teeth. “The market is very specific – it’s very hard to buy anything decent unless you have an Oscar on the mantelpiece.”

“I don’t even have a mantel-piece.”

“Have you, let’s say, donated money to a worthy cause? Rescued an opera house? Saved the planet?”

I didn’t have to say a thing. She knew I hadn’t.

“I’m really sorry, but I don’t think the Wairarapa is for you then,” she said. “I’ve got grips, effects people, steadicams, even a safety officer, desperate to buy here. Some are even willing to forego a helipad. But the sad fact is, unless you’re a big name, no-one’s going to sell to you.”

With a sigh I zipped the suitcase up.

“Fair enough,” I said. “Thanks for your time. I’d better go – I have a col-umn for Onfilm due in a few minutes.” Jonquil’s eyes lit up. “Onfilm? Why didn’t you say?”

She deftly flipped through pages on her iPad.

“Found it! It’s just the place for you. It’s a bit further north from here, in Mangatainoka. Swimming pool, tennis court, convention cen-tre. And... it’s just across the road from a brewery!”

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Views

Andy Conlan’s viewEd’s noteThe Unofficial Kiwi Movie Month

NHNZ recognised through award

A stute readers will note that we’re giving locally made Western Good for Nothing a second bite of the cherry this month, with an article by Peter Parnham looking at

the production’s tremendous locations and cinematography. While Good for Nothing probably isn’t going to turn the world of cinema on its head,

it’s a solidly made film with minimal dialogue and a great soundtrack by John Psathas. It nods towards films that many of us grew up with, although it’s perhaps closer in theme to Clint Eastwood’s The Outlaw Josey Wales than say, Sergio Leone’s Once Upon a Time in the West.

It’s a film that reminds us that we can make any kind of film in NZ – we have the skills and the locations to adapt to any genre, even one that’s seemingly “owned” by the USA.

Good for Nothing isn’t the only local film in town at the moment – Kirstin Marcon’s The Most Fun You Can Have Dying was released in April and Shihad: Beautiful Machine rocks onto the big screen this month.

To help those films along and celebrate other more “classic” releases, Event Cinemas has launched the “Unofficial Kiwi Movie Month (and a bit)”, a season of local releases that runs through to the end of May.

In addition to the new films, it features classic Kiwi movies including Goodbye Pork Pie (which races back to theatres on May 24), Taika Waititi’s Boy, Costa Botes’ Forgot-ten Silver, Leanne Pooley’s The Topp Twins: Untouchable Girls, Gaylene Preston’s War Stories and more.

It’s a rare chance to see some of the classic Kiwi films we know and love on the big screen. Remember, there are whole generations out there that haven’t seen some of the older films, so this month, make it your mission to drag a youngster to the movies.

Steven Shaw, editor

T he Documentary NZ Trust has awarded NHNZ the 2012 Outstanding Contribution to the NZ Documentary Industry Award.

The Trust says the award is recognition of NHNZ’s work, the employment opportunities it offers, the filmmaker training NHNZ has developed with the University of Otago, and the company’s established international reputation. NHNZ CEO Michael Stedman is delighted with the award, the biggest accolade presented during the Documentary Edge Forum Gala event in Auckland.

“For all of us here at NHNZ, New Zealand awards are very special and all the more so when they are given by the film and television industry,” says Stedman. “It is also wonderful to have our work with Otago University recognised. Fostering and growing a new generation of young documentary makers over the last decade has been very rewarding, not only for me personally but also for our company as a whole – with many of the graduates now working for us on international and local productions.” - The Documentary New Zealand Trust hosts the Documentary Edge Festival, which has finished in Auckland but will screen in Wellington from 17 May.

To The Editor,

I recently saw the delightful film Good For Nothing, screened to great applause at

the Embassy, Wellington.A first feature by Mike Wallis and Inge

Rademeyer, well-acted and well shot, this film has a cinematic breadth that does its locations proud. The Americans have Monument Valley, we have Central Otago.

Mike and Inge funded the shooting period of the picture themselves, and were very fortunate to gain the service and skill of Jamie Selkirk as Executive Producer to take the film through all the post-production phases, including distribution.

I know the New Zealand Film Com-mission were approached for post-production funding in much the same way as Second Hand Wedding. Well, they’ll bolt in – won’t they? I mean, two or three million bucks of screen value for $250,000, and another film to take to Cannes. And while $250,000 is not an insubstantial sum, it’s comparable to what was spent on the script for Vintners

Luck alone. The NZFC offered $20K with strings attached – wisely turned down by the producers.

Now looking at half finished films is no easy task, and a fine cut with temp music tracks, minimal additional FX, un-replaced dialogue tracks, no grade etc is exactly that – no easy task. However the NZFC have had 30 plus years to get good at it, and yet… they seem not to be able to tell.

Some years ago a brave and frustrat-ed director (Ian Mune) accused the NZFC of “Willful Ignorance”. Ian had always of-fered a place on the crew to anyone from the NZFC keen to observe and learn – an offer that was never taken up. Perhaps if it had been, the NZFC may have been in a better position to assess the worth of Good for Nothing, dubbed a “lovely newcomer” by the Hollywood Reporter, “Intriguingly Beautiful” by Variety, and ignored by the NZFC… How sad.

Michael HortonFilm Editor, Wellington

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Short cuts By Philip Wakefield

SoHo six months on

KA-POW!

Even on a channel dedi-cated to “quality and

discerning drama”, the likes of Mad Men and Treme still get the thumbs down.

Six months after its launch, Game of Thrones and Boardwalk Empire have proved to be the popular

dramas on SoHo and Mad Men, Treme and In Treatment the least.

Thrones and Boardwalk’s popularity doesn’t surprise Sky’s director of entertain-ment programming Travis Dunbar.

“This is completely understandable due to the ‘epic’ nature of the shows and their budgets along with the myriad of charac-ters,” he says.

“Camelot, despite doing great numbers for Starz in the US, was cancelled, yet the show resonated with SoHo viewers.

“While obviously more melodramatic and escapist than most SoHo fare, it still was a show that wouldn’t have appeared on network TV in New Zealand.

“Shows like In Treatment, Treme and

even Mad Men were never expected to attract large audiences in comparison with Game of Thrones and Boardwalk Empire (and this fact is reflected in other territories where the shows play).

“However, they almost over-index in terms of commitment and engagement from their loyal fan bases. People that love these shows really love them.”

While Dunbar says ratings aren’t ir-relevant on SoHo -- “at the very least they record the level of engagement” – they are less an indicator of success.

“This is primarily due to the high pen-etration of PVR recording for this service. A similar service in the UK (Sky Atlantic) has time-shifted viewing averaging over 75 percent of all channel viewing activity.

“And with more demanding, often-serialised drama, tune-in is not as crucial as say a sports event or variety show.

“What’s more, with core premiere shows rotated in different time-slots for convenience, and the added benefit of on-line catch-up, any show’s overall ratings need to be collated as in the US market.

“A cumulative rating includes all linear screenings, time-shifted recorded viewing and on-line catch-up. Simply put, the ongo-ing commitment of subscription will be the best indicator of long-term success.

“No show can truly be too niche if it meets our stated criteria for placement on SoHo. Namely: is it unique and original? Is it differentiated? Does it meet a standard of quality? Will a core of viewers truly engage with this drama? In short, is it something they can’t get to see on the other net-works?”

Dunbar expects new content to con-tinue to constitute about two-thirds of SoHo’s schedule.

“But there will be certain periods where the balance may shift,” he says, citing the overabundance of new shows that US cable channels debut from April-July.

“We could stretch the premieres over a longer time period, like traditional free-to-air schedules in New Zealand, but that would go against our stated policy of trying to premiere all our new drama within 1-3 weeks of the US transmission.

S uperhero colossus The Avengers scored the highest opening day gross

ever in New Zealand when the Marvel blockbuster notched up $1,019,844 on Anzac Day, instantly making it the #1 re-lease for the week ending April 25.

The previous highest opening was for Harry Potter and the Deathly Hallows Part 2.

The Avengers also scored the year’s highest opening weekend tally when it took $2,038,157 over four days and averaged a staggering $18,036 across 113 screens.

Just as astonishing has been the popu-larity of older-skewing British comedy The Best Exotic Marigold Hotel, which finished its sixth week as the nation’s #2 movie with the next highest screen average of $2986.

It also posted the year’s sixth-

highest opening weekend ($678,473).

April’s other big crowd pleaser The Hunger Games opened on $1,625,729 and after its third weekend, had grossed $5,458,991.

Meanwhile, NZ movie The Most Fun You Can Have Dying managed to crack the top 10 in its first weekend, but with a paltry $35,524 to average only $863 on 40 screens. This was despite largely posi-tive reviews. The NZ Herald rated it 4/5: “This is one of the most memorable local films to emerge in a long time, with beautiful icy cold cinematography and char-

acters of gravity and realism, but it’s not one for the faint-hearted.”

“Intricate, soulful and full of beautiful nuances, Most Fun is a stunning and powerful film,” said the NZ Woman’s Weekly, which ac-claimed it in a five-star rave as “one of the best of the past year”.

The Dominion Post was less effusive but still appreciative of this “peculiar and eventually likable wee movie …

“After a shaky start, The Most Fun settles into a very watchable groove. Matt Whelan is an undeniably talented and at-tractive leading man, Roxane Mesquida a perfect foil, and Kirstin Marcon directs with some moments of real beauty and insight. I liked The Most Fun a lot.”

TVNZ.co.nz rated it 6/10: “An admirable Kiwi film – while it’s not quite as engag-ing as it could be, it’s certainly well put together (Europe gives it a great global feel) and watchable, if occasionally flawed and distant.”

Most Fun was one of three NZ movies

that opened within a week or so of one another.

Journey of a Story had Anzac Day screenings throughout the country and Good for Nothing opened on 3 May to a blaze of publicity and positive early local reviews.

The Sunday Star Times faulted its me-andering storytelling and insufficient ten-sion but dubbed the world’s first “pavlova” western “an incredible accomplishment and testament to our sometimes-mocked No 8 wire genius … It has a huge heart and inventive spirit.”

Matt Whelan and Roxane Mesquida in Kirstin Marcon’s The Most Fun You Can Have Dying. Image: Supplied

Marvel’s The Avengers – Thor (Chris Hemsworth) and Captain America (Chris Evans) Photo: Zade Rosenthal. (TM & © 2011 Marvel. All Rights Reserved.)

continued on page 8

Travis Dunbar

7www.onfilm.co.nz may 2012

Short cutsBy Philip Wakefield

Kiwis on the Croisette Oz programming guru helps TVNZ hatch new strategy

Only one NZ movie will screen in this year’s Cannes Film Festival market but

two other productions have been singled out for special attention on the Croisette.

Tusi Tamasese’s The Orator has been selected for the Cinema des Antipodes section of Cannes Cinephiles and Zia Mandviwalla’s Night Shift is one of the 10 nominees for the 2012 Short Film Palme d’Or (last year Stephen Kang’s Blue won the Critics’ Week Canal Plus Grand Prix in Cannes).

The sole NZ movie to screen in the mar-ket will be Kirstin Marcon’s The Most Fun You Can Have Dying, which stars French actress Roxane Mesquida and last month opened to a soft box office domestically.

Among the 15 filmmakers and four NZFC staff at Cannes will be sales and marketing head James Thompson.

The same market conditions he out-lined in his last sales bulletin are expected to prevail: a reduction in foreign budgets for films that are execution-dependent and a steady increase in demand for high-end product.

“It’s also fair to say that in the current market a completed project either really works, or, it just doesn’t.”

If the former, filmmakers can expect competitive bidding, to hold firm on pricing and to clear a good number of international territories; if the latter, “zilch”.

Thompson says even movies perceived as being good can wait up to two years for all-rights offers of US$5000-$10,000.

Sharp drops in budgets offshore have led to Telefilm Canada launching a low-

budget initiative and even the Venice Film Festival announcing it will fund a series of low-budget films.

“I am conscious that anecdotes (par-ticularly around budgets and how films are being financed), need a level of detail in order for us all to consider how we ought to respond to these developments,” Thompson says.

“At Cannes this year we will be actively seeking out specific examples for both low-and high-end productions.”

Meanwhile, next year could see a stronger NZ presence at Cannes, with two movies having just wrapped (Medicine Woman and Shopping) and four more in postproduction (Mr Pip, Fresh Meat, The Weight of Elephants, Mt Zion).

The documentary, Shihad – Beautiful Machine, opened this month, The Last Dogs of Winter is pending, and Kiwi Flyer, which last month had its world premiere at the 2012 TIFF Kids International Film Festi-val in Toronto, is due on September 27.

And at its last board meeting, the NZFC approved conditional funding for James Napier Robertson’s second feature. The writer/director of I’m Not Harry Jenson next will shoot The Dark Horse, a Four Knights Film production, with Tom Hern producing.

Conditional funding also was given to the River Pictures documentary, Jersusalem/Hiruharama, which Miriam Smith will pro-duce and co-direct with Christopher Pryor.

Finishing grants of $10,000 each were approved for the features Mental Notes, The Red House and Tatarakihi – The Chil-dren of Paradise.

T VNZ looks like going back to the future – with the help of top Australian pro-

gramming consultant John Stephens.The retired, elder statesman of Oz

TV has spent the past month behind the scenes of a new game plan to improve TV One’s prospects and consolidate TV2’s.

“John is assisting us on a short-term contractual basis,” spokeswoman Megan Richards confirmed.

“He’s giving us the benefit of his very considerable experience and success to help with our scheduling strategy development for both TV One and TV2.” That strategy was expected to be unveiled earlier this month as part of Q&A sessions TVNZ head of television Jeff Latch was to hold with ad agencies.

Since chief programmer Jane Wilson exited a year ago over an employment row, there has been agency disquiet over the state broadcaster being “rudderless”.

As well as key executive appointments languishing, including a four-month gap between chief executive Rick Ellis’ exit in January and Kevin Kendrick’s arrival this month, TVNZ, despite a profit hike, has failed to capitalise on the financial woes of its chief free-to-air rival, MediaWorks.

“Who is programming TVNZ?” one agency source wonders. “As an industry, we don’t know. The only reason they’re getting away with it is MediaWorks’ finan-cial problems.”

TVNZ appears no closer to appointing a successor to Wilson (who, incidentally, was at MIP TV shopping a format called Find My Baby a Home).

While Richards wouldn’t even com-ment on whether interviews had been held for the post, it’s understood a deal couldn’t be negotiated with MediaWorks’ Kelly Martin while Australian program-mers aren’t interested: the job neither pays enough nor carries enough weight within TVNZ.

Hence, Stephens’ recruitment will help prepare a blueprint that could see TV

One, after years of mismanagement, try to stake out the quality middle ground with which it used to be synonymous.

Prime has the most to lose from this strategy, as TVNZ embarks on an ag-gressive acquisitions drive that’s priced blue-chip BBC documentaries and dramas beyond the Sky-owned channel’s reach.

It’s already paid dividends for TV One, with its Tuesday primetime wildlife slot be-ing one of the network’s most popular and often out-rating local TV2 hit Go Girls.

TV One’s also been trying to re-estab-lish British dramas on Sunday and Friday nights, with mixed results, and is moving to screen more content in high defini-tion – an extra cost that reflects TVNZ’s willingness to invest extra in making TV One once again the country’s flagship broadcaster.

While NZ’s Got Talent will juice up its appeal Dancing With the Stars-style, it still has considerable ground to make up, having jeopardised viewer goodwill with confused programming that’s alienated older audiences without attracting enough younger-skewing newcomers.

Viewer disenchantment was peaking in the last quarter of 2011, amid TV One’s Coronation Street scheduling shambles and the likes of Sky’s UK TV and Vibe cashing in on the exodus with more first-run British content (to wit: EastEnders on UK TV is now up-to-date with BBC transmissions whereas TV One’s Coro St broadcasts lag more than 18 months behind ITV’s.)

From October to December, TV One’s peak-time share of its target audience, 25-54 year-olds, fell to unprecedented lows of 18%-19.5%.

In the first quarter of 2012, it man-aged to claw back above 20%, peaking at 23.4% in January.

If TV One can recapture the heartland NZ audience that once made it #1, it would be ironic if an outsider proved to be its saviour.

Zia Mandviwalla (Night Shift), Tusi Tamasese (The Orator).

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Short cuts By Philip Wakefield

Coming soon to a home theatre near you

Due to a manufacturing snag, the DVD/Blu-ray release of Sione’s

2: Unfinished Business has been post-poned from this month to June 13 … Also due on DVD and/or Blu-ray next month are The Artist, The Ides of March, Albert Nobbs, Burning Man, Shame, Woody Allen: A Documentary, Black-thorn, Our Idiot Brother, Bobby Fischer Against the World, This is Not a Film and the official Cannes International Film Festival selection House of Pleasures … Watch also for re-issues of the classics

Compulsion, 5 Fingers, A Letter to Three Wives and, for the first time on Blu-ray, Chinatown, To Catch a Thief, The Man Who Shot Liberty Valance, Sabrina and Funny Face … If you missed them on TV: Kea – Mountain Parrot, The Sinking of the Laconia, Call the Midwife, seasons one of The Borgias, two of Sherlock, six of Dexter and seven of American Dad … Going direct to disc are seasons one of Suits and four of Friday Night Lights, and the Katherine Heigl flop, One for the Money.

Euro crime wave to hit here?

Several European crime dramas that have been surprise hits on British

TV are under consideration for screen-ing here on Sky TV.

“We’re definitely looking at The Bridge and quite like The Government and Braquo as well,” says Rialto pro-grammer Luke Murray.

And SoHo plans to screen the inspi-ration for The Killing, the US version of which is continuing this month.

“After the second season has finished its premiere run, we have acquired the rights to the original Dan-ish version, and will be premiering it, albeit somewhat ipso facto, on SoHo,” says Sky’s director of entertainment programming Travis Dunbar.

He’s also keen to widen SoHo’s sourcing of drama to across the Tas-man, although supply is problematic.

“While there are some superb Aus-tralian dramas being commissioned at the moment, especially for pay TV, we have little access due to the large out-put deals the other free-to-air networks have,” he says. “Much of this drama goes to them directly as a result.”

SoHo’s access to UK TV dramas is also limited. “As we always have to buy UK

content on an independent basis, we are dependent on the vagaries of supply.

“Obviously, BBC drama particularly, has been acquired by the larger free-to-air networks, but often languishes in very late off-peak slots.

“We have to be swift in terms of acquisition. That said, we have made ‘run-of’ series commitments to both The Hour and Top Boy.

“British drama will remain a staple of SoHo, but there is simply less of it available, and most of the shows only run four-to-seven eps.”

Meanwhile, series two of the Danish The Killing releases here next month on DVD and FTA viewers can catch season one of the US remake on TV3 from mid-year.

Rialto next month will premiere the Icelandic crime drama Jar City and a season of crime documentaries including A Very British Gangster, Mr Untouchable, Give Up Tomorrow and from the creators of Cocaine Cowboys, Godfathers of Ganja: Square Grouper.

Other June premieres include the movie version of The Trip, The Reluctant Infidel, How I Ended This Summer and Incendies.

Rating a Mention

E x-Onfilm editor-turned-TV critic Nick Grant exposed the gap between a

programme’s funding pitch and its execu-tion in his Herald on Sunday preview of TV3’s The GC, in which NZ On Air invested $419,408. Originally to be a documentary series called Golden Mozzies that aimed to “explore emigration from a Maori per-spective and how Tikanga Maori supports them as they adapt to life in a new coun-try’’, Grant argued it sounded interested, timely and relevant. Fast-forward nine months to “Jersey Shore on the Gold Coast … a bawling, puking ’n’ pooping ‘reality’ show [that] is not so much an insult to viewers’ intelligence as a violent assault. It puts the ‘super’ into superficial and plays like an unintended demonstration of Robert Muldoon’s contention that ‘New Zealanders who emigrate to Australia raise the IQ of both countries’” … Among the new local shows TV3 has lined up for the third quarter are The Block NZ, Golden

and The Hub … Sky TV’s announcement that it was expanding its “locally produced entertainment content portfolio” with its first Vibe channel commission, Top Shelf Productions’ Starting Over, sounded more like a case of expanding the truth: “Many Kiwis … wouldn’t know that we broadcast more than 14,000 hours of locally produced general entertainment content last year,” chief executive John Fellet claimed in a statement – neglect-ing to acknowledge much of this included not only non-entertainment genres (Prime News at 5.30, The Crowd Goes Wild) but also such third-party channel commis-sions as Movember and Spartacus on The Box, The Foodstore Chefs on Food TV, Destination Ski NZ on Living Channel, National Geographic’s Expedition Antarc-tica and the NZ Young Producers Shorts BBC Knowledge initiative with SPADA (five more shorts have been commissioned for screening later this year).

“Occasionally, we may have so little shelf-space that we have to sit on a show for a short period, but that will generally be the exception.

“We are not so naïve not to realise that the kind of upscale ‘buzz’ shows that premiere on SoHo are exactly the type of shows most susceptible to illegal downloads or file-sharing.

“Not exactly a problem for season eight of Desperate Housewives, but definitely an issue for Game of Thrones.

“Ultimately, all broadcasters will need to move to within ‘day-and-date’ broadcast of US transmission if they genuinely want to tackle piracy.”

Dunbar says SoHo subscribers are the “most engaged” Sky has encountered.

“They have fully embraced the channel and its template of ‘quality and discerning drama’.

“We have had more suggestions than any complaints per se. Suggestions of shows we should purchase, or library shows we should bring back, or shows we should rescue – for example, Breaking Bad, which is two seasons and nearly two years behind the US in its New Zealand transmission. And what’s more, relegated to an off-peak time slot …

“As always, the subscribers who em-brace the channel and its content are the ones who make this service a success. It remains early days, but it does seem that quality content, aggregated and un-tampered with, has a dedicated audience and destination with SoHo.”

Even so, launching SoHo was “more than a calculated risk”, Dunbar says.

“These shows are expensive to secure. They would most often never return their costs in either ad-revenue or sponsorship. That is why SoHo was always created as a premium service.

“We launched it with pride and confi-dence, and I believe marketed it astutely, in-telligently and without insulting our intended audience or making any grandiose promises or exclamations – other than to be timely in our delivery of new shows – and if we chose a show for broadcast in primetime, we would remain committed to running it in primetime, irrespective of ratings. We left the rest to the potential audience and subscribers.

“The way the channel has been em-braced, lauded and promoted, primarily by word-of-mouth subscriber discussion and critical praise, has genuinely humbled my entire team.”

He singles out channel programmers Rachel Thomson and Mike Radics for their contributions.

“They have done an exemplary job of researching the various shows and tracking the rights availabilities.

“And of rescuing shows that have formally been abandoned. Of creating a schedule with care and focus, ensuring the widest possible accessibility to shows within their premiere week.

“They also created the Box Set catch-up weekends, and the innovation of allowing viewers to know what season and episode they are watching in all the EPG listings.”

continued from page 6

9www.onfilm.co.nz may 2012

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Evil Dead underway in Auckland

NHNZ creates largest online NZ stock footage archive

creating the original,” says Tapert. “The desire to deliver an unexpected and outrageously scary movie experi-ence for the audience.”

Evil Dead marks the directorial feature debut for Fede Alvarez. Orig-inally from Uruguay, Alvarez studied filmmaking and communications, later opening his own production and post-production company.

In 2005 he won a scholarship to complete a masters in screenwriting in Amsterdam. In November 2009,

say he was dropping by with almost 30 hours of stel-lar HD helicopter aerials taken from just 200ft (61 metres) off the ground. Their footage covers the country from end to end and will itself become the inspiration for many stun-ning creative campaigns in years to come.”

Following close behind the NZ aerial collection came the exclusive signing of Tight-lines Productions. The makers of the ITM Fishing Show saw NHNZ Moving Images as the ideal agency to represent their stock footage. Tightlines’ content is raw and gritty, action shots of fishing and fish behaviour at its best.

Ghost House Pictures is pro-ducing the much anticipated

remake of Sam Raimi’s 1981 cult hit horror film The Evil Dead, the film that launched the careers of Sam Raimi, Rob Tapert and Bruce Camp-bell, who played the Ash character through three films.

The story involves five 20-some-thing friends who are holed up in an isolated cabin where they discover the Book Of The Dead, unwittingly summoning demons living in the

NHNZ Moving Images has grown its New Zealand stock footage

content by over 300 hours with the addition of a stunning collection of HD NZ aerials and an exclusive repre-sentation deal signed with Tightlines Productions – makers of the ITM Fishing Show.

The recent additions of profes-sionally-shot, broadcast quality HD content, including footage from three of NHNZ’s award-winning NZ productions, establishes the Dunedin-based archive as the world’s largest, most accessible repository of New Zealand stock footage online.

Over the last six months NHNZ Moving Images director Caroline Cook and her team have sourced, created and uploaded thousands of

nearby woods, which possess the youngsters in succession until only one is left.

The cast includes plenty of fresh meat, including Jane Levy (Suburga-tory) as Mia; Shiloh Fernandez (Red Riding Hood) as David; Lou Taylor Pucci (Carriers) as Eric; Jessica Lucas (Cloverfield) as Olivia, and Elizabeth Blackmore (Legend of the Seeker) as Natalie.

“This cast of burgeoning talent share the same spirit we had when

new stock video clips to their online site which, for the first time, provides producers and creatives with an easily accessible collection of high-quality New Zealand content for broadcast, internet and offline productions.

The NHNZ collection spans 35 years worth of content, including film dating back to the time when the production company was the Natural History Unit; incredible Phantom footage from Life Force: New Zealand and Primeval New Zealand; and 3D footage from Jewels of the World: Fiordland.

“No sooner had we completed uploading NHNZ’s latest batch of content than, with perfect timing, Andy Salek, producer and Aerial DOP from Making Movies called to

he posted a four-minute short called Panic Attack!, which became an in-stant viral internet hit, prompting intense interest from Hollywood and Ghost House Pictures in par-ticular.

“We found a brilliant artist in Fede Alvarez. As a director, he un-derstands what makes a story work and how to put the pieces together,” says Raimi. “I’m really excited to see this story that I care deeply about, retold by such a fine storyteller.”

“Getting the content online is now our priority. We balance speed against our desire for accurate key wording so not only is the content online, but it’s easily locatable. It is a veritable feast of footage for New Zealand and offshore producers to get their teeth into – simply and cost effectively.”

Sam Raimi, Rob Tapert and Bruce Campbell reboot the cult horror that kick-started their careers.

35 years worth of content at NHNZ has been boosted with the addition of new, broadcast quality HD footage.

NHNZ’s Lifeforce: New Zealand.

10 may 2012 www.onfilm.co.nz

The recent information about the size and value of the screen

industry sparked much comment and deep thought. In the general media the discussion was positive and credited the importance of the sec-tor and the considerable investment in it. Within our industry, however, we heard comments that were less positive, mostly from those who felt it didn’t reflect the business as they knew it. For us this highlights the importance of ensuring we see the whole picture, including what the Film Commission’s place is within the sector, the breadth of the industry, and the interdependence of each part on the others to create the best possible future.

The latest Screen Industry Survey from Statistics New Zealand shows filmmaking is a healthy performer. Feature film revenue for last year came in at more than $700 million – up 15 percent on the previous year – and helped drive the overall screen sector to nearly $3 billion in 2011. The total doesn’t include any signifi-cant Hobbit spending either – so we can expect our large-footed friends to have an impact on the 2012/13 total. There were 35 feature films contributing to the 2011 stats and they drove half of all production and post-production revenue.

The 35 films range from those with tiny budgets to the world headline grabbing movies, which have seen the New Zealand film brand cemented on the international stage. The Film Commission, on behalf of the Gov-ernment and the industry, has a role to play in just about all of them, and

of course different individuals and companies across the New Zealand screen sector worked in a multitude of ways to make them happen.

In one part of the sector there are the lower budget films (and shorts that were not included in the survey) where a large proportion of the local industry content creators operate. This is also the area where our assist-ance is most visible as we provide de-velopment and production support, and contribute up to 100 percent of the costs involved. At this end of the spectrum we are all aware the rewards for everyone involved are rarely finan-cial. Cast, crew, location and facility providers all give their time and skills for less than they could get for other types of work.

Hopefully we all recognise these films are vital on all counts. It is where the industry kicks off and where there is almost always a particular Kiwi feel to the story on screen. Not only do these projects make an extraordinary contribution culturally as an art form telling Kiwi stories, they are also the key driver in developing the talents of local producers, directors, scriptwrit-ers, crews, and actors.

The next step for those talented individuals is to make more ambitious projects and we are very keen to sup-port filmmakers in that endeavour. We aim to do more than just help financially. We’re often alongside from the early development stage to helping films get into A list festivals, and seeing them sold on the interna-tional market.

Then there is the big money end of the spectrum. It is undeniable that

Graeme mason, chief executive of the New Zealand Film Commission, offers his perspective on the NZ screen industry.

Thoughts on the screen industry

It is undeniable that New Zealand is a fantastic location for big budget films.

Graeme Mason.

www.bmcreativeartists.co.nzTALENTED ACTORS . TALENTED AGENTS.

11www.onfilm.co.nz may 2012

Views

ours is an industry where few fortunes are made and steady employment is hard to come by. While filmmaking has to comprise a large dose of ‘do-ing it for the love of it’, we also have to follow overseas trends and help our producers court private invest-ment. This will give a greater level of independence to the industry. It is also the only way to ensure we can spread our financial support across the ever increasing pool of talented applicants. Each year there are new people with more new stories to tell entering the industry and looking for support.

In light of this we are working with a goal or expectation that most applications for production funding come to the Commission asking for a maximum of 75 percent of their budget. We know goals like this will

New Zealand is a fantastic location for big budget films. We have incredible scenery and talented people who are world leaders in all aspects of movie making, including directing, special effects, location management, design, post-production, and digital prowess. Investments made through the large budget scheme contribute greatly to the overall New Zealand economy. As well as creating salaries, (which are largely spent in New Zealand – filter-ing through the economy) Kiwi films attract tourism spending and have a big impact on how New Zealand is seen overseas.

In addition to building the talent pool we all know we need to build self-sufficiency. We want a thriving independent industry with more films in cinemas each year. While the numbers sound good, we know that

take a long term commitment and that we have an important role in helping producers meet with the right people, and learn the right skills, to get investors on board. That’s one of the training and professional develop-ment initiatives we’ll be particularly interested in supporting in the years ahead.

Filmmaking is about doing some-thing you love. But of course it’s also about paying the rent. On a pure business level it is encouraging that the Screen Industry Survey found that in 2011 there were more than 180 businesses that earned more than $1 million – 18 more than in 2010. On a practical level of course most businesses, like most independent contractors, are operating on much less. It is, however, key to reflect on the scale of the sector – some

84 businesses were responsible for mak ing feature films, but more than 1000 other businesses contracted produc-tion and post-production services.

While the number of feature films able to be born out of the necessary love and all-consuming commitment in any given year isn’t huge, the va-riety reaching cinemas is. This year just from the locally generated sector we have documentaries, comedies, dramas, a children’s film, and a film in Te Reo in the pipeline. When the foreign generated, or local large budget projects, are added, it is clear there’s something for every viewer’s taste, and there are some opportuni-ties for filmmakers at every level to work in an industry that continues to punch above its weight, and capi-talise on the great brand that is New Zealand film.

Kiwi films attract tourism spending and have a big impact on how New Zealand is seen overseas.

12 may 2012 www.onfilm.co.nz

Tooling up

Peter Parnham looks at some of the exciting new camera gear announced at the 2012 NaB Show held in Las Vegas.

Kickstarter cameras

L ast month thousands of people left their families and dutifully

descended into Las Vegas for the hard work of NAB – the big US broadcast-ing equipment show. To help with the excuses, equipment manufacturers fire salvos of press releases about their

latest gizmos, although during the last few years, a lot

of NAB equipment announcements

began to end with phrases like “available

in fall”.Just a few

years ago Red camera entrepre-

neur Jim Jannard turned anticipation

marketing into a crea-tive genre all of

its own – creat-ing lengthy pre-order queues outs ide the Red’s exhibi-tion booths long before the thing was ready.

This year young US film-m a k e r s J o e Rubinstein and

Elle Schneider have taken this ap-

proach to a new level. Prior to NAB they turned to

Kickstarter.com, which describes itself as the crowd sourcing funding platform for creative projects. Their Kickstarter campaign aimed to raise US$100,000 in pre-orders to fund the development of a new camera, but 440 backers drove it to US$262,661 by the closing date.

How did they pull that off? Listen to the name: The Digital Bolex.

In case you are too young to rec-ognise a resurrection when you see it, Bolexes were affordable 16mm film cameras first created in 1927. They were brilliant and well-loved because they were small, you could load them in daylight, and they were clockwork so you didn’t need batteries.

There are probably hundreds of them buried under junk in filmmak-ers’ garages around New Zealand.

According to Rubinstein, the Dig-ital Bolex D16 will be the first digital cinema camera to shoot raw images at a price anyone can afford (around US$3299 with accessories), with reso-lution of 2048 x 1152 pixels and 12 bit 4:4:4 images generating 2MB or 3MB

of data per frame. In others words, it should look good.

It turns out Bolex International still makes clockwork and electrical 16mm film cameras. God knows who they sell them to, but lending a couple of ambitious young filmmakers their name could be the smartest thing they have done in a long time.

Meanwhile, Blackmagic Design spotted the same niche in time for NAB. They haven’t made cameras before – they are known for their video cards and little boxes with lots of sockets that make incompatible things work together.

Blackmagic Design claim the Black-magic Cinema Camera is a revolution-ary digital camera design with 13 stops of dynamic range, high resolution 2.5K sensor, and a LCD touchscreen for metadata entry. It comes bundled with a full version of DaVinci Resolve colour correction software.

Like the Digital Bolex the revolu-tion is not what it does, it is the price – around US$3K.

Blackmagic Design claim the Blackmagic Cinema Camera is a revolutionary digital camera design with 13 stops

of dynamic range.

14 may 2012 www.onfilm.co.nz

It gives you 12 bit log raw image files – a trick previously reserved for really high end cameras. Raw files are called raw for a reason – they need processing before you can watch them. But, says the theory, you are better off processing them in a post production computer than trying to process them on board the camera and baking in whatever the camera decides is best.

According to Blackmagic, the cam-era will be available July 2012.

The other NAB news is that the gi-ant Canon has awoken. It wasn’t until November last year that they started to capitalise on what budget filmmak-ers have known for years – you can take a Canon 5D MKII stills camera and shoot movies with it even if the processed, highly compressed video and limited audio can create a post production challenge at times.

So they introduced the Canon Cinema EOS System – beginning with the EOS C300 camera.

Unlike the large stills sensor of the Canon 5D MKII, the Canon C300 has a Super 35mm sensor the same size as movie sensor frame. This decreases the depth of field and perspective – it

won’t look quite the same as the 5D, but it will be consistent with other movie style large sensor cameras.

The big difference to a 5D MKII is an HD-SDI output on the back of the camera offering an 8-bit 4:2:2 50 Mbps video which should overcome the limitations of the Canon 5D MKII video, but more bits is better, and it is fair to say that the camera is up against some entrenched competitors with 10-bit offerings.

Never mind, Canon has an-nounced the Canon 5D MKIII. It has better specs for filmmakers than the famous 5D MKII, and that is sure to make a lot of people happy.

But for all that, it doesn’t solve the fundamental dilemma of these cameras. They are some of the best professional DSLR stills cameras in the world, and they are not about to endanger that position by making too many compromises for the sake of video. That is the role of the separate Cinema EOS line. And top marks to Canon, it is available now.

• www.digitalbolex.com www.blackmagic-design.com www.canon.co.nz

The other NAB news is that the giant Canon

has awoken.

Geoff Lealand has been on a mission, collecting information on New Zealand’s independent and art house cinemas.

In an article I wrote for Onfilm last year (‘Researching the Film Audience’,

April 2011), I described my plans to set up a public access website about film-going in New Zealand. I believe in keeping my promises so there is now such a site, at http://cinemasofnz.info. The ‘info’ indicates that it is a non-commercial site, dedicated to collecting and sharing information – in this case, information about independent and art house cinemas in New Zealand.

The site is not so much about what films are screening at various cinemas (flicks.co.nz does a good job of that) but about the cinemas themselves: where they can be found; what kinds of audiences they serve and what kinds of

films they screen (their ‘audience catch-ment’); a brief history of each cinema; and what is interesting or special about each place.

I have deliberately excluded cin-emas operated by the big three (Hoyts, Event and Reading cinema chains), arguing that the multiplex ‘popcorn’ experience is pretty much the same wherever you go, instead concentrating on independently owned (but some-times interconnected) cinemas, which provide a different ‘panini’ experience for their patrons.

This has led me on travels from Kai-taia to Stewart Island, with more excur-sions still to be made to cinemas, film clubs, outdoor screenings and all other

places where people gather to watch film. To date, I have visited 47 out of a possible 80 cinemas (with still more to be discovered) that fit my criteria – from the grand Embassy in Wellington to the one-man band Castle Duo Cinema in Kaikohe.

I collect information on projection and sound systems, styles of seating, snack bars and special events, take photos and then add my own impres-sions of each cinema, catching a film wherever I can. All this information can be found in the Cinema Directory section of the site, together with a map directory and links to interesting stuff. The sites which are ‘live’ are highlighted in green and receptive to a click; there

are still numerous places to be added when time and finances allow.

I have resisted promoting this site until there was a good level of content posted but it has begun to attract users, some of whom have left interesting comments. My likely site visitors are film academics, travellers and tourists, and New Zealand filmmakers who are looking for friendly screens to place their product.

Film distribution and exhibition in New Zealand is a contentious area, replete with competing factions and interests, and I have encountered some

Popcorn and panini: Cinemas and film-going

in New Zealand

Views

Continued on page 25

Miramar’s The Roxy, and right, Opotiki’s De Luxe Theatre.

15www.onfilm.co.nz may 2012

16 may 2012 www.onfilm.co.nz

Good for something Mike Wallis and Inge Rademeyer turned their backs on the

housing market, took their deposit and headed south to make a Western. Peter Parnham talks with

cinematographer Mathew Knight.

Hopefully Mike Wallis and Inge Rademeyer will make enough

money from the theatrical release of their movie Good for Nothing so that they can refuse to allow it to be shown on aeroplanes. It would be a travesty to watch this film cropped to fit a ten inch screen with airline headphones, engine noise and drinks trolley inter-ruptions.

To get the full impact you’ll need to watch Good for Nothing on the big screen while sitting in the dark. Never mind how small the produc-tion budget actually was, this is a big film. Big landscapes, big close ups, big orchestral score.

Writer director Wallis says the idea was a movie with the style and look of the iconic 1960s’ American ‘Spaghetti’ Westerns that were, in truth, mostly shot in Spain by Italian directors.

“Finding the landscapes, and making sure we could use them, was really important to the story making and they inspired a lot of the ideas,” he says.

“Inge and I spent three years location scouting. We were working at Weta Digital and every Christmas break we would go down there and as we scouted we found more and more different locations from Central Otago to the Mackenzie Country.”

Unlike Rademeyer, Wallis grew up in the South Island and knew the area

well, a familiarity that led to the idea of making a Western.

“We wanted to have a classic cin-ematic style, designed for the big screen,” says Wallis, “and there are ways to do that other than 3D.”

Wallis says his directing approach was to keep things simple, and when it came to conferring with cinematographer Mathew Knight, they mainly discussed story.

Knight says the classic Western story also required a very simple kind of cinematography.

“We shot in quite a different way to a lot of modern movies. There are a lot of static shots, often cutting around things rather than to do cam-era moves. Mike wanted it to be quite simple because it was a story about quite simple people.

“There is just one crane shot where a crane-up reveals that Isabella [Inge Rademeyer] couldn’t run away because there was this massive desert where she would die. So it is quite an important piece of visual storytelling, with a very good specific reason for the camera move.”

Knight says he had previously shot around Lake Tekapo, Twizel and the Mackenzie Basin for commercials and documentaries.

“It has always been one of my favourite places to shoot because it is a stunning looking area. A lot of my background has been in things

Cohen Holloway as The Man in Good for Nothing. Images © Mi Films Ltd.

17www.onfilm.co.nz may 2012

Locations

like documentaries overseas for the BBC, so I’ve developed a sort of a feel for it.

“The biggest thing for me is just getting the camera in the right place, which sounds simple but is actually difficult. When you arrive, a lot of places just don’t look quite right, so there is a lot of walking up hills or heading over to a rock to see if you can see a little better.

“One of the good things on this production was that we did have five weeks on location, which was the right amount of time. With a lot of more modest budget films that I get involved with, often the big compro-mise comes in how little time you have to shoot. That’s when it gets really tough.

“It also takes a lot of time just to move a production around in the mid-dle of the big open deserts, and then also a good bit of time to get the right light – shooting in early mornings and late afternoons.”

Once principal photography with all the actors was completed they had a week in the studio. Then, since they had no second unit, Knight and Wallis went back for a week to shoot landscapes, a job that took a lot more hiking and shooting at dawn to find the right light.

“We knew the gaps we were bridg-ing with those landscapes and it all helped to build that world,” says Knight.

As you watch the film you can almost feel the arid landscape. It is a world consistent with the classic West-erns, where along with all the other suspension of disbelief required, you were expected to imagine that people go ranching in the desert.

“The same thing comes to mind sometimes when you are in the Mac-kenzie Country,” says Knight. “Quite a few of the places where we shot are farms, and you get out there and you think they are farming nothing but rabbits and rabbit holes; it doesn’t look like you could grow anything out there. But we were there specifi-cally at the driest time of year; things do start to get really quite green at other times.”

Part of the classic Western look is created with the Cinemascope-style wide screen, a reason enough to watch the movie in its entirety at the cinema, because by the time it makes it to video it will either be let-terboxed, or have 25 percent lopped off the side to make it fit a HDTV screen.

When you watch it on a good qual-ity digital cinema projection system, you may be surprised to learn that the movie was shot on a now superseded Panasonic HVX 202, a sub $10K camera, fitted with a Letus 35mm lens adaptor. On paper at least, it is a setup that should not yield a real grown up feature film.

“We started shooting before there were a lot of Reds or Canon 5Ds around, and it turned out surpris-ingly well,” says Knight.

He says the Panasonics handled the contrast created by the harsh sunlight.

“Even though they had your typical

video camera difficulty with over exposure, they were actually really good in the shadows. Amazingly, you can shoot in the middle of summer with the sun blasting down and see shadow detail on people’s faces. We did use a fair bit of bounce boards

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Every Christmas break we would go down there and as we scouted we found more and more different locations from Central Otago to the Mackenzie Country.

– Mike Wallis

It has always been one of my favourite places to shoot because it is a

stunning looking area. – Mathew Knight

Filming also took place at “Old West Town”, a Western-themed resort near Ohakune in the North Island.On location in the South Island, New Zealand for Good for Nothing.

18 may 2012 www.onfilm.co.nz

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system where you can depend on a great deal of colour grading to make things look good later.

“I was really happy with this film,” he says, “The movie wasn’t created because of the quality of the camera; so much of what looks great is be-cause great stuff was put in front of the camera.

“We went to the great locations, similar to what Peter Jackson has ac-cess to when he does The Lord of the Rings and The Hobbit; these are great places that people come from all over the world to shoot, so we had great production value in the locations, and art director Zoe Wilson gave us sets that were so well done.

“The makeup was done by Ryk Fortuna. I hadn’t thought that much about makeup before this, but you see those cowboys standing in front of you and they look incredible. The

and things like that, but this wasn’t going to be a production where we’ve got 20 by 20 silks and 18K lights for contrast control,” says Knight.

“But that sort of camera with a Letus adaptor is not very good in low light, so the night shoots were very challenging,” he adds.

“I did extensive camera tests that I took into Park Road Post and viewed in an online suite, which was so im-portant, and I really did have a good idea of how everything was going to

turn out later. We shot as close to the final look as we could get,” says Knight.

“In a way I kind of like it because you know what you’re dealing with on the day and you tend to not think you can fix it up and make it look better in the grade. You need to get it right at that point. That was a huge benefit to us. Most of the post was really about trying to protect the image and not to have it degrading too much. This is certainly not the kind of camera

way [leading man] Cohen Holloway looked every day was a work of art on his face; I could do as big a close up of his face as I wanted and it was perfect.”

Since finishing Good for Nothing Knight has been shooting with mo-tion capture cameras on high profile movies, but he says it’s hard to beat location shooting.

“I like getting out to locations and shooting scenics – it’s hard to keep really fresh and excited about things if you’re spending a long time in the studio.

“There seems to be so many intan-gible things about being on location; you have a lot more difficulties to contend with – there’s wind, there’s extra dirt, and all sorts of stuff going down,” he says. “It becomes a lot more imperfect, but you can kind of smell it on the screen.”

These are great places that people come from all

over the world to shoot. – Mathew Knight

Cinematographer Mathew Knight on location.

Filmmakers Inge Rademeyer and Mike Wallis on location in the South Island.

19www.onfilm.co.nz may 2012

News

A troupe of Kiwi comedians, a DIY wizard and the steepest street in

the world are just some of the unique New Zealand stories to be brought to the screen for the 2012 New Zea-land Young Producer Shorts on BBC Knowledge.

Five talented producers will receive grants of A$5000 (approx NZ$6350) to produce their short films as part of the joint filmmaking initiative between BBC Knowledge and New Zealand’s Screen Produc-tion and Development Association (SPADA). The five films will premiere on the BBC Knowledge channel on Sky TV later this year.

Now in its second year, the New Zealand Young Producer Shorts invites local producers under 30 to submit film concepts telling NZ sto-ries that reflect the spirit of the BBC Knowledge channel – intelligent, in-formative, innovative and sometimes irreverent.

The judging panel, consisting of representatives from the NZ produc-tion sector, SPADA, Sky TV and BBC Worldwide, said the entries were of a remarkably high calibre this year, covering an ambitious and diverse range of subjects.

Deirdre Brennan, general man-ager and director of channels and branded Services, Australasia said, “We are thrilled to be partnering with SPADA and the New Zealand production community once again to bring fresh local stories to BBC Knowledge audiences. There was a significant increase in the volume of entries this year and it will be a great pleasure to see the final five evolve. I look forward to seeing them on the channel later this year.”

SPADA chief executive Penelope Borland added, “We are delighted that this partnership nurturing young talent has been such a success in its first year and there has been even

more interest this year in this won-derful opportunity for short-form documentaries by young New Zea-land filmmakers to be screened on BBC Knowledge both in New Zealand and Australia.”

The full list of winners is as fol-lows:Joey Bania, Dunedin: Lost and FoundIn a remote corner of New Zealand’s South Island, enigmatic inventor Blair Somerville has created the ultimate tribute to DIY wizardry, a collection of interactive artworks he calls the Lost Gypsy Caravan. Lost and Found invites viewers down the rabbit hole to experience Blair’s world in all its homemade glory.Andy Boreham, Wellington: Beneath the WigBeneath the Wig strips back the glit-tery façade of drag to reveal some of the real and raw stories of men who sometimes wear dresses.George Dawes, Dunedin: Steep

Street: Tales from the Steepest Street in the WorldSteep Street tells the story of a quiet – but steep – street. Take a trip up Bald-win Street and meet the residents of the steepest street in the world. From drunken antics of Dunedin’s students to the little old lady running a gift shop in her living room where the prices are, frankly, a little steep.Heidi O’Loughlin, Auckland: Mum I’m off to Melbourne for a LaughFour young Kiwi comedians travel to the Melbourne International Comedy Festival in an attempt to find success, all whilst trying to keep their heads above water and their friendship intact.David White, Wellington: Who is Lee Harris?Crime, accusations and narking – but is any of it true? Who is Lee Harris? is an investigative documentary to find the facts about one of the biggest mys-teries in the Manawatu Gorge.

Winners announced for Young Producer Shorts

BBC Knowledge and SPaDa announce winners for NZ young Producer Shorts 2012.

HAPPY BIRTHDAY

Congratulations and thanks to the writers, producers, directors, cast, crew, TV2 and the New Zealand audience

for your support

CELEBRATING

20 may 2012 www.onfilm.co.nz

Compliance, compliance, compliance

Cinematographer Waka Attewell is always happy to comply, especially when he’s halfway up a mountain.

the room you wouldn’t believe me. But it’s true, it didn’t. It was a cheap and cheerful down-on-the-waterfront motel. I threw my bags on the bed and headed off to town.

After a quick “hello I’m here” meet-ing with DOC things went downhill. There were three bits of brand new compliance and I wondered if the big Hollywood movie had anything to do with the extra bureaucratic ructions. Whatever, I saw two weeks of my pre-cious time dissolve and now all I had to do was find 200 feet of vertical ice.

In a cyber café I did a tweak (more like a complete rewrite) of the script and redid the storyboard from scratch. I sent it via fax to the agency and the agency writer got back to me quickly via email.

“Wow buddy, this is great stuff and that storyboard is perfect, just what we’re looking for.”

He then put his name on both bits of paper and published them on the agency letterhead. Situation normal. I slept easy in the fact that it was now something I could achieve.

The idea of being a one-man band means you can move really quickly. Finding the vertical ice face was the key to getting this gig focused. In a local café I was advised that I should get a location manager.

“I’m a climber, I know how to find ice,” I said.

“No,” they replied, “not for the loca-tion scouting – round here these days you’ll need a location manager just to do the paperwork!”

I laughed into my latte, confident that I knew which way was up.

My knowledge of the mountains told me that ice forms on the shady side of the valley, ie south facing. Northern is better for photography, though warmer. Dilemma ensues.

It’s Vancouver in the mid-1990s and I’m DP on a feature film. We’re in

that awkward time between day and night, it’s called “blink”, and I want to get a few wide shots while there’s still light in the sky.

I step onto the roadway to take a light reading, safe in the fact that the roads are closed in all directions for two blocks. Suddenly there’s a guy in my face holding a bright red stop sign, shadowing my every move.

I ask him to stop doing this, explain-ing that it might look like I’m just taking a light reading but I’m actually thinking through the next three shots. He curtly tells me it’s his job. So I politely suggest he backs off a bit so I can do mine.

“No!” he sneers, “I have to maintain this distance,” adding for good meas-ure, “It’s the rules.”

Oh hell, the masters of compliance have gone crazy. Then again it could be something to do with the Teamsters Union this guy belongs to. I hope loca-tion shooting doesn’t get this regulated back in New Zealand.

I point out that we’re on closed roads. “Still my job,” he swaggers with mindless self-righteousness. His stop sign is now shadowing my light meter. I think it’s deliberate.

The Vancouver film and TV business wasn’t yet cursed with the road cone but they had riot-type barriers to hold the people back, you know the sort. Cops and SWAT teams use them. Later that night, I witnessed the same lollipop-guy fall over one of these barriers while walking backwards “lollipopping” one of the stars onto the set.

Meanwhile back in New Zealand TVC production budgets were plum-meting and location shooting felt like it had just become more complicated. There were times over the last few years when I got behind on these ever

more erroneous location compliance issues, mainly councils and DOC (De-partment of Conservation) changing stuff without informing the industry, or just plain inattention from me. To be honest, thinking about compliance wasn’t the first thing on my mind come sunrise. It seemed there was always someone else who needed to know what, when and why. And their need to know mostly involved using your money to do their job.

A big mountain movie hit Queen-stown around the same time my cell phone qualified for a free upgrade from the 025 to the 027 network. I happened to be in Auckland meeting

with an ad agency, they were talking low budget and had phoned me. I reck-oned I could do their job on 35mm film with a small shooting crew. They gave me the gig and I dropped by the Queen Street Telecom shop. The slick-haired dude assured me that Queenstown was already 027 savvy. He lied.

In Queenstown my phone only worked in about three spots, but that didn’t really matter because the ad agency in Auckland had a Telstra-Clear PABX system that apparently rejected all incoming 027 calls anyway. Added to that, the motel – in a tourist town – didn’t have an internet connection. If I told you it didn’t have a phone in

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Waka Attewell in his younger days, halfway up a mountain.

21www.onfilm.co.nz may 2012

Locations

The script involved real climbers and CGI penguins. Obviously the penguins were no trouble, but warm breathing climbers who can act a little, that’s another story.

Looking up a couple of local climb-ers from a previous life, we jumped into a helicopter (don’t mind the paperwork we’ll sort that later, said the helicopter company) and flew straight up above the airport, into the valley behind The Remarkables and Wye Creek, and onto the cold side. A couple of frozen waterfalls were perfect but access was difficult. For me to make any profit, this job could only involve a one-day shoot. We settled on a location with a good landing site and reason-ably easy walking access. I took a stills montage and sent the cut-and-paste to the agency. Perfect, now to get the paperwork sorted.

Working suspended over a frozen waterfall is dangerous work, and get-ting a heavy 35mm camera onto a ledge that is yet to be cut into the ice is another thing altogether. The plan was to have the climbers on separate radios and on a separate climbing line. I had two sets of radios – for the climbers on my left hip, film safety climbers and helicopter pilot on the right. This way

I could coordinate the shoot. My intention was to put a lot of time

and money into safety. But when I re-ceived the newly introduced paperwork for the safety plan, none of it seemed to be relevant to what I was doing.

We were required to be in radio contact with the helicopter at all times. Unfortunately in the Wye Creek region radio transmission was fine from ground to air but not back to base. The safety plan said “in case of accident climb to the ridge top and use a radio to call for help”; a climb I estimated would take from 1.5 to two hours. We got around this small issue when I mentioned I had the new 027 phone from Telecom and that did the trick. This fact was hand-written on the paperwork. The fact that it still didn’t work in Queenstown wasn’t relevant… I rest my case.

The last thing I wanted was to re-write the safety manual for DOC. I did what everyone else with limited time and budget did and filled out what was required and had it approved by an authorised mountain guide. All he did was remove the previous produc-tion company’s name off the front page and fax it through to DOC. It took all of five minutes and he invoiced me $600.

Apparently it was the third permit he’d done that week. If there’s a secret hand-shake I didn’t detect it.

I paid for the helicopter permit and photocopied the relevant A4 page for the call sheet, which encouraged my crew of only one other not to walk into the rotor blades.

The location fee was standard fare, though exponentially higher than the previous time. My work was fi-nally done, compliance complete. Two weeks had been added to the shoot and at least $15k of unbudgeted time and costs incurred.

The morning of the shoot (after a few days delayed by weather) dawned fine, but I hadn’t factored in the new knee-deep snow so late in the season. Climbing up to the location was impos-sible to achieve in the time I’d allocated – bugger!

I opted for the Hughes 500 helicop-ter, with short rotor blades, to do the walking for us. We stepped off the skids onto a ledge 150 feet up the waterfall and set up the camera – the five hours of unbudgeted helicopter time was never recovered from the agency.

Suffice to say we got it in the can. The double radio system worked a treat (as it transpired I’d forgotten to

take my useless 027 phone anyway) – all safety aspects worked, the pilot and climbers were brilliantly efficient and able. The only mishap was me falling out of the chopper after it landed at the second location. I broke my little finger. Ouch. I gaffer-taped it to the next finger and carried on.

The next day I flew to Auckland with the rushes and handed them to the agency. Their in-house editor looked at me like I’d crawled out from under a rock then never made eye contact again as he explained he wasn’t used to directors turning up for the edit… eh? The CGI was out-sourced to Australia and I’ve produced one commercial since, with similar compliance issues and similar non-profitable results.

After accommodation, catering, crew, safety climbers and extra helicop-ter times were paid up I still owed the bank more than $8k.

Today I’m moving cows around my farm as I remember the good old days when the film and TV business was worth something more than just mere-ly revenue collection. And Telecom has just done another free upgrade; I’ve been given a smart phone. Only problem is the smart phone doesn’t work on the farm!

22 may 2012 www.onfilm.co.nz

NZ short Night Shift has been selected to compete in Cannes this month.

Locations

On the Night Shift

Night Shift, written and directed by Zia Mandviwalla, has been chosen

to compete for the 2012 Short Film Palme d’or at the top film festival on the international calendar. Night Shift has been selected out of 4500 films to be in the final 10 competing for the prestigious prize.

Night Shift is a moving tale of an air-port cleaner trying to make it through another long shift. It is the latest offer-ing from writer-director Zia Mandvi-walla, whose previous work has earned her a host of prominent international selections at film festivals in Pusan, Melbourne and London. This is her fourth short film.

“The news that we were selected to screen in competition at Cannes took me completely by surprise,” says Mandviwalla. “I am so very hon-oured and excited to represent New Zealand this year at this prestigious film festival.

“Night Shift wouldn’t be the film that it is without the support and hard work of an exceptional cast and crew. This achievement is something I share with

everyone who worked on the film,” she says.

Night Shift was funded through the NZ Film Commission’s Premiere Shorts programme. It was produced by Chelsea Winstanley and Matt Noonan through Curious Films in Auckland. Ex-ecutive producers are Maile Daugherty and Michael Bennett from A Collective Intake of Breath.

So considering the tight border security at international gateways, how easy was it to get a permit at Auckland Airport?

“The airport outsources any requests to Inflight Productions, a company that specialises in issuing permits and organising shoots out at the airport,” says Curious Films’ Dan Higgins, who worked as production manager.

“That’s because there are so many different areas of management and different regulations out there. They’ve decided to run it all through the one company, which makes it easier for peo-ple trying to shoot out there because there’s one person to touch base with.

“In terms of going airside, it’s a bit

of rigmarole,” he admits. “You need clearances for all the crew and the gear; you have to go through the scanners, that sort of thing. They do background checks, get full names and addresses from everybody … organising that was a bit tense at times.

“We had to go through and give them versions of the script, breakdowns of the locations we would shoot in, and put together special documents for them to go over before getting approv-als. The biggest thing was the waiting, when you’re trying to schedule in crew and you’re waiting for a yes or no.

“Selection for Cannes is an incred-ible achievement for any filmmaker,”

says NZFC short film manager Lisa Chatfield. “Zia’s film is utterly compel-ling and will be a strong contender for the main short film award.”

This selection follows a long line of achievements for New Zealand short films. Last year Blue, directed by Stephen Kang, won the Critics’ Week Canal Plus Grand Prix in Cannes.

“New Zealand shorts continue to punch above their weight,” says Chatfield “New Zealand is second only to France when it comes to the number of shorts being selected for competition at Cannes.”

The winner of the Short Film Palme d’or will be announced 27 May.

Fabulous first prize – Win five nights in Los Angeles to meet with film industry heavyweights. Sponsored by the Motion Picture Association (MPA) and The New Zealand Federation Against Copyright Theft (NZFACT) Finalists films will be shown at the festival 27 Jan 2013 at the TSB Bowl of Brooklands New Plymouth.

Filmmakers must enter their film by 30 Nov, 2012 and follow the Tropfest criteria available on our website

HOLLYWOOD BECKONS FOR TROPFEST NZ WINNER

CALL FOR ENTRIES 30/11/2012FOR MORE INFORMATION VISIT TROPFEST.CO.NZ

Images: Supplied.

Slugline

23www.onfilm.co.nz may 2012

Immigration law changes

in effect

Foreign actors who want to work here for fewer than 14 days, or

with an official co-production or an accredited company, now won’t have to be vetted by an industry union or guild to establish whether a New Zea-lander could do the same job.

The changes, passed under ur-gency, came from allowances made with Warner Bros at the end of Octo-ber 2010, when there was specualtion that an industrial dispute with actors would force The Hobbit movies to be made elsewhere.

The Immigration Service has been hosting a series of briefings through-out NZ to explain how the accredita-tion process associated with the new rules will work.

The Screen Producers and Devel-

opment Association says it believes budget constraints and the recognised talent base in New Zealand means a tide of foreign workers is unlikely.

Actor Dame Kate Harcourt told Ra-dio New Zealand they feared foreign-ers could scoop New Zealander’s jobs. “I think it’s an extremely short sighted plan,” said Harcourt, “and it’s going to disadvantage a lot of New Zealand actors who need the work. And who are equally talented to the people that they are bringing in.”

Meanwhile, papers released under the Official Information Act confirm that a deal had already been reached. Papers show that The Hobbit producer-director Peter Jackson held discus-sions with Government Ministers

immediately after cabinet meetings and that the unions had agreed to halt industrial action more than a week before the law was passed.

NZ Actors Equity welcomed the re-lease of the information. “NZ Equity expresses its concern regarding the Government’s decision to undermine the immigration processes in place at the time,” said NZ Equity president, Jennifer Ward-Lealand. “The regula-tions sought to ensure that New Zea-landers were considered in casting and crewing the production.”

Equity also rejected allegations raised in the documents that its con-sultation role causes delays.

“The fulfilment of our role under Immigration NZ regulations has always been within the time period

allotted and has been conducted professionally and efficiently. There is not one instance where an over-seas production has pulled out of shooting in New Zealand because of our consultative role,” said Ward-Lealand.

“The immigration process that has been in place for decades was there to ensure that New Zealand perform-ers were provided with reasonable opportunities to work on all film and television productions. The new watered-down immigration process to be introduced next week will pro-vide carte blanche for New Zealand taxpayer-supported productions to engage non-New Zealand performers for any and every role.”

Law changes now in effect make it easier for foreign performers, musicians, technicians and

other crew to work in New Zealand.

There is not one instance where an overseas

production has pulled out of shooting in New Zealand because of our consultative role

- Jennifer Ward-Lealand

24 may 2012 www.onfilm.co.nz

Facebook can ignite the fires of your business and help define and develop its culture and spirit. Ande Schurr offers some case studies and encouragement to start placing more emphasis on social media.

Making Facebook Count

sometimes several in the day, de-scribing what is on offer in the cafe’s kitchen. The occasional photo of new art work on the walls helps to keep the focus on the total cafe experience and not just the food.Examples: (1) Apple cinnamon and pecan get together to create today’s muffins!! (2) Rohan is busy making chai syrup... getting ready for higher demand after a wee rave in Metro mag’s April issue!

2. Focus the lens – Rocket RentalsRocket’s Gavin Newton is an active social media user. He and the others share clips (produced by their cam-eras), photos of DPs hard at work, DP showreels, new and old lenses in stock and they respond to questions and comments from their customers.

Find inspiration, support or just a good laugh with social media, our

modern day campfire. A few days ago, a colleague posted

a comment that life was getting bor-ing. It wasn’t your average light-heart-ed social media comment and before long this person had many responses, likes, and suggestions on how they might deal with this predicament.

It was totally impromptu, in the moment, just people like you and me reaching back to a friend who dared to share their feelings. You could sense this person’s change in mood and I couldn’t help but be impressed and amazed to discover that Face-book, something I had long relegated to the bottom of the genuine personal contact barrel, had a very important part to play towards our well-being and fostering a sense of community.

Facebook “friends” are not just superficial, shadowy creatures be-hind computer screens or mobile phones, they are as alive as you and I are, blood rushing around the body, looking for a way to improve the quality of their own lives, and when the chance lends itself, the lives of others. Nothing beats the contact of a real person, and yet, when that isn’t possible, Facebook becomes the meeting place.

Yet Facebook is far more than per-sonal community. If done correctly, it can ignite the fires of your business, and help define and develop its cul-ture and spirit.

There is an oft-quoted phrase – “we live in auspicious times”. Maybe so, but of more importance to the busi-ness owner is the reality that we live in suspicious times. We don’t trust the hard-sell – the “I’m passionate about cars” car salesman. We trust those who do a good job for the sake of doing a

good job and not just for commercial reasons. In the mini-case study that follows, I discover three businesses that work for the pleasure of doing a great job for their customers.

These three business owners em-brace Facebook and make it work for their business. The first is a successful, quirky little cafe in Mt Albert, Cosset Cafe. They are in a different industry from us yet Kellie and Rohan, known as “the lovely ladies” to their custom-ers, have a surprising grasp of how to fuel desire and pique interest among their clientele.

We’ll also look at popular camera rentals company Rocket Rentals. With offices in Auckland and Wellington, their customers are spread around the country so they need some kind of forum to broadcast their news and show a united front.

And last, Peter Jackson, who uses his Facebook page for important film-ing announcements although there are some semi-personal touches too, like when he pays tribute to a col-league who has passed away.

These examples give us three unique approaches to social media. Choose the one that suits you.

1. Taste buds – Cosset CafeThe Cosset Cafe Facebook page has a behind-the-scenes feel. Off-the-cuff photos of new artwork on the walls adds to the “as it is” and “by the way, I took this photo if you’re interested” approach that is so effective because it is casual and avoids the stench of polished marketing, which is an alien in the social media realm.

Cosset posted “Lemon white chocolate and morning glory muf-fins” one Sunday morning recently. Seven people ‘liked’ it. That’s seven almost certain customers. Along with

everything else they do to promote the cafe, over and above a nice write-up in this month’s Metro magazine saying that their home-made Chai was the best in the business, Cosset turned over its busiest day in six months! It is these little tasty morsels of informa-tion that win over their customers and keep them wanting more.Adaptation: We too have to assail our customer’s taste buds – not their physical appetite but their appetites for news of what productions we are on currently, good deals on rental equipment, new cameras, lenses, lights and sound gear that can make their next project look and sound in-credible, and something inspirational from time to time to keep their spirits soaring.Approach: Little text-only teasers,

PO Box 78-131, Grey Lynn, Auckland, New Zealand.Ph: +64 9 378 9016.Fax: +64 9 378 9018.Web: www.kractors.co.nzEmail: kathryn@kractors.co.nz

Kathryn Rawlings & Associates

Actors for Film,Television,Commercials,Theatre & Voice

25www.onfilm.co.nz may 2012

Views

This kind of public community board is perfect in building the image of Rocket as more than just a rental house. It shows that they care about the entire filming experience and not just their business.

One thing I like about Rocket is that they embrace all their competi-tors. If they don’t have a particular camera left on the shelf, they’ll pass on contact details of Metro, Panavision, NZ Camera Hire or others. Gavin, whose official title is rentals and facili-ties manager, sets the standard with his attitude: “Our industry is too small – we have to work together.”Adaptation: We all use equipment regardless of our profession. Even if you’re a writer, you can post about your new fountain pen – that is sure

to draw a laugh! But it’s not just about purely advertising our gear, it’s blend-ing that with something interesting, something worth sharing, like a spe-cial lens that is 30 years old, or a new micro camera that fits on a pigeon.Approach: Lots of pictures and words. All news is good news. Promoting their own gear but equally promoting camera operators and forming a com-munity without any fear of looking too commercial.Examples: (1) Over 30yrs old but very nice old film look from this Ang-enieux 1:10 zoom. (2) Alex prepping for an EPIC shoot on steadicam.

3. Polished and proud – Peter JacksonPeter is in another league from most of us! Yet we can still learn from him. He only makes important announce-ments, but that is a style in itself. The Hobbit production video series, which is so polished and proud of what is to come, attracts tens of thousands of

“likes” each time one is posted. Most of the other content on Peter’s Face-book page is generated by his fans, such as news and videos about him.Adaptation: Occasionally we need to bring the wow factor to our Facebook page, derived from our work and not just singing the praises of someone else. If we have directed, produced, shot or recorded/composed sound on a video then that should be up-loaded. We can’t all be film giants like Peter but we can be proud of our own accomplishments for our clients and friends to appreciate.Approach: Publish only when a project is complete. Less is more. Pol-ished content wins even if it’s polished “behind the scenes” content.Examples: (1) Hi everybody. We will

have a new on-set video from THE HOBBIT coming here soon! (2) I’m very proud to present the trailer for our new feature documentary, WEST OF MEMPHIS, directed by Amy Berg.

In summaryThese Facebook business and per-sonal approaches should give us the encouragement we need to start plac-ing more emphasis on social media. The key is community spirit. The rewards are colleagues and clients who become real friends and want to give us more business because they see that we are much more than just a title on a call-sheet, a classified listing or the end credits.

• Ande Schurr is a location sound record-ist specialising in TV commercials, feature films, documentaries and TV dramas. His ‘How Freelancers Can Succeed’ interviews and articles are inspired by his experience in the New Zealand film and TV industry.

If done correctly, it can ignite the fires of your business, and help define and develop its culture

and spirit.

Popcorn and panini: Cinemas and film-going in New ZealandContinued from page 15

of the personalities involved. But my site does not take sides – other than the side of film-goers who seek out a more fulfilling film experience than the average multiplex provides, and local filmmakers who might not know that Napier has a new cinema (The Globe Theatrette), or that the Everybodys Theatre in Opunake (Taranaki) still screens films several nights a week.

I have encountered some beauti-ful cinemas along the way, from the retro elegance of Miramar’s The Roxy, to the stylish décor of the Matakana Cinemas; the welcoming atmosphere of the Lido cinemas (Auckland and Hamilton); the ex-traordinary homage to earlier days of film-going at The Regent in Te Awamutu; the faded charms of the De Luxe Theatre in Opotiki. I have also met some great people, running community-supported cinemas in places like Waiheke Island or Kaitaia, or endeavouring to bring cinema back to their town in places such as Dargaville, or fundraising to upgrade their projection to digital in towns like Takaka.

The cinemas I list on my site seem to appeal most to older film-goers and the film festival set, and there is evidence that these sectors are growing in size and importance. Such cinemas are particularly fo-cused on meeting the needs of older film-goers and this part of a global trend.

Hollywood is also beginning to

take notice. As a leading British newspaper recently declared, “Older people are flocking to cinemas. But they don’t care for special effects. They want big characters, grown-up dramas and tales of late-blooming love. And so Hollywood’s changing its game.” (The Guardian, 8 March 2012). In this respect, current re-leases such as The Descendants and The Best Exotic Marigold Hotel are right on the button.

Filmmakers in New Zealand should pay attention to these inter-esting shifts in the audience, rather than continuing to chase the ‘lost generation’ who now customarily get their films from other sources (legal or illegal). There is an older audi-ence sector in New Zealand, which is very loyal to particular cinemas and loves the ritual of going out, having a meal and watching films on the big screen.

The hope is that in addition to my Cinemas of New Zealand site assisting local filmmakers, who are planning a distribution and exhibi-tion strategy for their next film; it will serve as a celebration of special places to watch special films in New Zealand.

If you feel I have not yet discov-ered your favourite cinema, do let me know by sending a message to lealand@waikato.ac.nz

• Geoff Lealand is a Screen and Media Studies lecturer at Waikato University. http://cinemasofnz.info

Regent Theatre, Te Awamutu.

26 may 2012 www.onfilm.co.nz

Reviews

The Most Fun You Can Have Dying

Rest for the Wicked

working-class accent all in the space of a few heart-warming weeks among India’s friendly, colourful people and, as a result of Opening Her Mind and Helping Others, gaining a tremendous sense of Purpose and Self-Worth.

By contrast, underlying thoughts in Rest for the Wicked hover with empa-thetic good humour around central character Murray’s observation that “Inside every old person there’s a young person wondering what the hell happened.” This has resonance when you consider the cast list, which

Feature NZ 2011 prod co Antipodean Films and Esidarap Productions prod Maile Daugherty, Judith Trye dir Simon Pattison story idea Simon Pattison, Nick Ward writer Bob Moore DP Jos Wheeler ed Paul Max-well production designer Shayne Radford sound supervisor Ray Beentjes original music David Long cast Tony Barry, John Bach, Ian Mune, Ilona Rogers, Irene Wood, Elizabeth McRae, Bruce Allpress, Stephen Lovatt, Elisabeth Easther, Sara Wiseman, Stephanie Tauevihi, Ken Blackburn, Helen Moulder, Teresa Woodham, 71 minutes

Rest for the Wicked, which screened in cinemas last year and is now

out on DVD, is a refreshing, home grown antidote for those who, like me, still feel clogged with saccharin after enduring the Gilbert and Sul-livan-style theatrics of The Best Exotic Marigold Hotel.

Both are comedies relying on old age for their thematic fodder and both provide roles for a raft of consummate ageing actors, but there the similarity ends. Exotic’s cringe-inducing self-help assertion It’s Never Too Late to Reinvent Yourself, is il-lustrated, to name just one example, by Maggie Smith’s character Muriel losing a lifetime of racist thinking, her wheelchair dependence and her

reads like a page out of the who’s who of NZ film and television elders – ac-tors who have delighted us over many years in dramas ranging from Goodbye Pork Pie, Skin Deep and Gloss to Home by Christmas, Power Rangers and Outra-geous Fortune. Given that we live in a culture where youth-obsession plays a large part, it’s no mean feat to set a feature film in a retirement village, people it largely with over-65s and come out the other end with a film to be proud of. Note too that both director and writer are making their feature début.

Feature NZ 2011 prod Alex Cole-Baker exec prod Timothy White dir/writer Kirstin Marcon, from the novel Seraphim Blues by Steven Gannaway DP Crighton Bone ed Peter Roberts production de-sign Bruce Everard costume design Liz McGregor make-up design Deb Watson sound design Simon Riley composer Gray-son Gilmour cast Matt Whelan, Roxane Mesquida, Pana Hema-Taylor, Colin Moy, Clementine Howe, Caren Pistorius, Sophie Henderson, Arlo MacDiarmid, Matthew Saville. 97 minutes

Diagnosed with terminal cancer, 20-something Michael (Matt

Whelan), hearing of the devastat-ing side effects of the expensive, time-buying treatment offered and learning those who have fund-raised for it expect him to listen to their patronising platitudes and act the grateful invalid, ingeniously steals the treatment money, abandons the grungy Hamilton flat he calls home and lights out for a random OE.

The plot centres on old cop Murray (Tony Barry) checking into Knightsbridge Gardens Retirement Village (the beautiful Remuera Gar-dens Retirement Village) to carry out an undercover operation to catch crook Frank (John Bach), who has eluded him for years. Infusing the chase narrative are lots of lovely one-liners and bits of business around sex, death (“Just when you’re getting to know somebody you turn around and they’re gone”) and elderly rock ’n’ roll. Loneliness lurks (“All my friends are dead and my kids hate me”) and the vagaries of memory and loss of vitality also loom large but, unlike The Best Exotic Marigold Hotel, there’s nothing maudlin or patronising about it. In keeping with this the younger supporting actors add richness to the texture without, as could have happened, making the elderly look foolish by contrast.

My favourite moment is very small, but perfectly formed: It’s a shot of an elderly resident, all dressed up and excited as she prepares for the retire-ment home dance, plucking her chin whiskers with a pair of tweezers.

– Review by Helen Martin

Matt Whelan with co-stars Pana Hema-Taylor and Roxane Mesquida in The Most Fun You Can Have Dying.

John Bach in Rest for the Wicked.

27www.onfilm.co.nz may 2012

Our expat spy provides his idiosyncratic take on the aussie film and television industry.

Across the ditch

Storm in a chamber pot

Sydney theatre director Benedict

Andrews was last month’s wunder-kind, cruelly mis-understood by the

critics. His self-penned play, Every Breath, opened at Sydney’s prestigious Belvoir St Theatre.

Benny has given us masterful productions such as War of the Roses, casting Cate Blanchett as Richard II and Pamela Rabe as Richard III, in which he boldly read the Bard’s true intentions by having the young Prince Hal recite a key speech after hoicking Falstaff’s semen out of his mouth.

In his Measure for Measure, an actor sitting on a dunny distributed fake poo all over the toilet wall. Another, naked from the waist down, smeared stage blood and poo all over his own face.

Naturally we could hardly wait for this one, especially after the awards for his King Lear (at the National Theatre of Iceland, no less!).

While noone there was quite sure what Every Breath was actually about – an androgynous security guard, hired by a wealthy family for some un-specified reason, becomes an “empty stranger, on whom they spontaneously

and desperately pin all their hopes and aspirations” – there was lots of simulated sex, nudity and masturba-tion. For 80 incredibly long minutes.

Sydney Morning Herald theatre critic Jason Blake wrote “Every Breath gives those who think Sydney’s theatre scene is being held hostage by auteur-wankers a clip full of told-you-so ammunition.”

Veteran actor (and husband of actress Judy Davis) Colin Friels was characteristically blunt: “I see his pro-ductions and I sort of want to jump off The Gap. I want to poke my eyes out with blunt sticks and throw them at the director… what you see is the ego of the director.” Wonder what the wife thought?

It was all a bit of a storm in a cham-ber pot really. When you work out that a six week season of a play at Belvoir would attract about 15,000 people, as opposed to a top rated TV drama au-dience of over 2,000,000 for just one night, it all seems a bit irrelevant. What really worries me is that I have agreed with a major critic. What next?

* * *

Robert Connolly’s work, how-ever, is worth watching! He

is now directing a telemovie on

Wikileaks founder Julian Assange, for broadcast on Channel 10. The producer is ex-pat Kiwi Helen Bowden of Matchbox Pictures. Alex Williams, a recent graduate from Perth’s Western Academy of Performing Arts, stars as the young Assange. Also in the cast is Anthony LaPaglia, who played the lead in Connolly’s excellent film Balibo, and Rachel Griffiths.

* * *

Channel Ten will be hoping for good ratings. With its share

price tumbling from $1.40 to around 80c over the last year, new CEO James Warburton has a tough job ahead to restore investor confi-dence. The channel is floundering and its advertisers are gun-shy after a run of flops like The Renovators, a re-versioning of the same tedious and predictable reality format with competing DIY home improvers.

The highly successful Masterchef is still Ten’s flagship, but it may be overcooked this season with its run now more than 100 hours. There’s only so much an audience can swal-low. “Lightly scripted” gets hard to digest after too many courses… but wait, Nine has something tasty and

fresh! The Voice… it’s a talent show! Pass the indigestion tablets, nurse.

* * *

Benny is soon to put the wider Aus-tralian public’s lack of awareness

about his genius to rest. 17 directors have been named for The Turning, a TV adaptation of a collection of short stories by esteemed author Tim Win-ton, to be produced by producer/director/writer Robert Connolly.

“Spanning 30 years, The Turn-ing’s overlapping stories of second thoughts and mid-life regret are set in the brooding small-town world of coastal Western Australia.”

Benny has been chosen as one of the Magnificent 17. Let’s hope he doesn’t turn Winton’s masterful writing into shit.

* * *

Those expat Kiwi film and theatre folk over here who were lucky

enough to have known him were saddened to hear about the passing of Wellington’s greatest stage actor, Grant Tilly. At the risk of “tearing a passion to tatters”, may I say that we all lose a small piece of ourselves when one of the tribe shuffles off this mortal coil. Vale Grant.

by JAMEs boNdI

His plans to go down alone in a hedonistic blaze alter when he hooks up with beautiful French-woman Sylvie (Roxane Mesquida), who’s also on the run, in a liaison which adds a new dimension to his flight across Europe.

The conventional way to treat this narrative would be to focus on the existential implications for Michael and his family, friends and lovers by way of endless soul-searching conversations about, insights into and demonstrations of motivation and consequence, especially around the issues of personal responsibility and death. A Hollywood treatment of this story would link flashbacks of Michael as a happy kid with a loving mum to scenes of him as a young adult, motherless and lost, thrashing about in a self-destructive rampage of anonymous sex, booze and drugs. There would be a soft-focus deathbed scene for Michael,

with lots of weeping mourners, or perhaps the discovery of a miracle cure at the 11th hour.

Don’t hold your breath. In adapt-ing Steven Gannaway’s novel, début director/writer Kirstin Marcon goes down a much less-travelled, much more challenging alterna-tive route, opting for a tone that provides a perfect correlative for the Generation Y sensibilities of the characters. There’s a steady infusion of black ‘cancer humour’. The title is deeply ironic. In narrative style The Most Fun You Can Have Dying is reminiscent of 1960s’ French New Wave films, downplaying cause and effect signposting, often placing the viewer in the middle of a moment and asking them to guess what hap-pens either side. Cues signifying daily rhythms are sparse – beyond selected sequences we see little detail of how Michael and Sylvie spend their days – and information

about the European locations they visit is largely incidental. There’s almost no back story. We find out that Michael is a student only when his doctor advises him to take the rest of the semester off. We have no idea what he’s studying or what he wants from life, he’s just there, with his terminal cancer and his photo of his dead mother, “trying”, as he tells his friend David who turns up to take him back to New Zealand, “to have a good time”.

Marcon shows a real talent for getting the best from her actors. Matt Whelan, on screen in almost every shot and charged with having to con-vey the depths of Michael’s character in look and gesture, with the occa-sional voice-over fragment retained from the source novel (“I’m gonna get what I deserve”), gives a brilliant, thoroughly riveting performance. In this, he is ably supported by the rest of the talented cast, particularly

Pana Hema-Taylor as David (and it’s Michael’s friendship with David that provides the real love story) and Roxane Mesquida as Sylvie.

While shot on a small budget, the geographic scope of the film is vast (four New Zealand and 11 European locations) but despite the dramas the logistics of the shoot must have caused, the production values are first class. The Most Fun You Can Have Dying is really striking, a great looking film, nicely edited, with beautifully composed and lit visuals (Europe in winter looks magical) and excellent production design. The soundtrack cleverly assists the narrative – there’s an almost subliminal growl in the dark moments, for example, that voices an unease the characters may be unwilling to articulate – and Gray-son Gilmour’s music is stunning.

A brave and impressive début.

– Review by Helen Martin

28 may 2012 www.onfilm.co.nz

A legal view

Key clauses in Option and Purchase AgreementsBeing aware of the legal details in an Option and Purchase agreement can, as David McLaughlin discusses, be just as important as knowing the key commercial terms.

In the last couple of issues of Onfilm we have looked at the

different aspects of Option and Purchase Agreements, in terms of defining the key principles behind how they work, as well as some of the key rights that are often included within them.

However, another aspect to Op-tion and Purchase Agreements that is not often given the attention it deserves is the various legal details around more practical aspects of the agreements. Although these clauses and terms do not define the overall nature of the commercial deal be-ing done between the parties, they can still have an impact on how the Option and Purchase Agreement operates on a practical level.

A classic example of this is credit provisions. When an Option and Purchase Agreement is entered into any final production may still be a long way off, but it still pays to give some attention to defining the precise credit that will be given. The credits we are talking about here will just relate to the source material being optioned by the production company, so they will look some-thing like “Based on the Book by Joe Bloggs”. If the person optioning the material to the production company is also providing other services to the production (eg, scriptwriting, acting etc) then the credits for that work should be covered off in sepa-rate agreements.

Accounting and audit provisions are another important example of the type of legal detail clauses that

have a big practical impact on how an Option and Purchase Agreement functions. Even if it is clear what payments are to be made to some-one for the rights the production company is acquiring, it is still vital to be clear on precisely when these payments will be made. Also, in any situation where there is to be a share of net profits paid to the original rights holder, or the purchase price is determined in any regard by the amount of the final budget for the production, the ability for the original rights holder to audit the production company’s financial records is also something you would expect to see.

Another clause that is impor-tant to include in an Option and Purchase Agreement, from a pro-duction company’s perspective, is one clarifying that the production company is under no obligation to actually proceed with any exploita-tion of the material it has acquired. Although it’s one of the less likely issues that could subsequently arise for the production company, this does just help to remove doubt that once the original rights holder has been paid for their rights in the material, it is absolutely up to the production company as to how this material is used going forward.

Although we have looked at them in more detail in previous columns it is worth briefly noting a couple of other key clauses that definitely fall within the realm of the general legal details that should be covered in an Option and Purchase

Agreement. The first of these is the waiver of any “moral rights” that the original rights holder may have in the material being acquired. Moral rights are designed to protect and acknowledge the original creator’s input into copyrighted material. As a breach of someone’s moral rights can give rise to almost the same rights of enforcement as a breach of someone’s more general copyrights, it’s important that this waiver is obtained by the production company.

Another important clause to in-clude from the production compa-ny’s perspective is one acknowledg-ing that the original rights owner can only sue to recover damages for a breach of the agreement and can’t get an injunction, or similar court order, to halt or disrupt the production, or exploitation of the production. This just ensures that a fairly minor breach of the produc-tion company’s obligations to the original rights holder will not put the whole production in jeopardy.

If you take a look through any Option and Purchase Agreement you will see a raft of other clauses that also support the overall opera-tion of the agreement. The above clauses are some of the more specifi-cally important ones when it comes to the legal details of Option and Purchase Agreements.

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

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

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

Moral rights are designed to protect and acknowledge the original creator’s input into

copyrighted material.

Sutherland, Heather Winship, Josh Cleary set bldr Richard Klinkhamer painter Stine Wassermann gfx Larissa McMillan intern Ruby Fitzgerald 1AD Marc Ashton 2AD Jack Nicol 3AD Keryn Johns cast dir Liz Mullane script sup Marian Angeles DP David Paul equip hire Cameraworks; David Paul, Chris Hiles f/puller Matthew Tuffin 2AC Graham Smout 3rd AC/grip Gene Warriner data wrang Josh O’Brien 2U cam Ross McWhannell 2U cam asst Manuel Czepok cost des Gabrielle Stevenson byr/sby Estelle Stroud asst/sby Rose McIntyre gaffer Adrian ‘Wookie’ Hebron b/boy Alan Wilson b/boy add Chris Murphy lx asst Jared O’Neale fx m/up lead Naomi Lynch fx m/up art Tanya Barlow m/up intern Sarah Elford snd rec Benoit Hardonniere stunt sups Rodney Cook, Shane Rangi stunts Allan Henry, Luke Hawker spfx sup Paul McInnes vfx sup Frank Rueter fluids/fire Bodo Keller concepts/gfx Felicity Moore sci consult George Slim experiments Richard Hall weapons Paul McLaughlin EPK Brendan Dee unit pub Sian Clement cast Antonia Prebble, Daniel Lissing, John Bach, Stephen Lovatt

IN RELEASEBLINDSIDEShort prod co Zodiac Entertainment dir Dimi Nakov writers Chantal Rayner-Burt, Sean O’Connor prod Dimi Nakov, Graeme Cash 1AD Tim Butler-Jones add AD Kate Carver DP Jarod Murray cam ops Sam James, Stephen Morris, Lydia Stott cam assts Dinesh Chelat, Peta Douglas, Jamie Drummond, Lars Quickfall snd Richard Dugdale boom ops Josh Finnigan, Lars Quick-fall, Daiyaan Rhoda sndtrack Unsub, Dano Songs, Kevin MacLeod, Valdi Sabev vfx Kathy Kenndedy, Jill Round art dir Kevin Luck asst art dir Natasha Luck stby props Peta Douglas, Rokhshana Lang, Henric Matthiesen stills Nichola Gilchrist, Tim Butler-Jones, Robert Aberdeen gfx des Jose Gilabert m/up Celeste Strewe, Victoria Haines cast dir Beren Allen loc mgr Daiyaan Rhoda safety Phil Greeves stunt coord Melvin Te Wani cont Brooke Macaulay, Anjula Prakash, Peta Douglas ed Martin Collyns cast Jordon Buckwell, Tonci Pivac, Sarah James, Paul Thomas Lewis, Lulu Bell, Tessa Jensen, Tara Eloise

PLAYMATESShort prod co Zodiac Entertainment dir Dimi Nakov writer Tonci Pivac prod Graeme Cash exec prod Dimi Nakov, Tonci Pivac post prod Samuel Wheeler 1AD Tim Butler-Jones DP Stephen Morris cam ops Levon Baird, Jarod Murray cam assts Dinesh Chelat, Paul Hudson snd Sudarshan Badrinarayanan boom ops Daiyaan Rhoda, Richard Dugdale score Tim Butler-Jones, Samuel Wheeler tech dir Jarod Murray m/up Celeste Strewe stby props Peta Douglas stills Nichola Gilchrist, Simon Long cont Jess Maitland, Brooke Macaulay catering Yagoda Pivac, Tim Bulter-Jones ed Samuel Wheeler cast Delaney Tabron, Tonci Pivac, Phil Greeves, Simon Long, Thomas Moon, Aleisha Moore, Jesse Miller, Sean O’Connor

THE PSYCHOLOGISTShort prod co Zodiac Entertainment dir/prod Dimi Nakov writer/exec prod James Crompton exec prod Dimi Nakov prod mgr Graeme Cash DP Jarod Murray cam assts Kevin Luck, Lars Quickfall, Peta Douglas snd Richard Dugdale boom op Josh Finnigan sndtrack Cap Gun Hero, Kevin MacLeod, Dano Songs art dir Peta Douglas m/up Celeste Strewe cont Peta Douglas ed Logan Swinkels cast Stanislava Balkarey, James Crompton, Miho Wada, Pascal Roggen, Kevin Luck, Lars Quickfall, Tim Butler-Jones

WHAKATIKI12mins 16mm short fund Independent Film Mak-ers in asso NZ Film dir Louise Leitch prod Melissa Dodds writer/co-prod Bernadette Murphy DP Martyn Williams ed Lala Rolls comp Tom McLeod snd des Ray Beentjes snd rec Ken Saville boom op Joe Fraser pic/snd services Park Road fac mgr Nina Kurzmann DI ed Tim Willis colourist Matthew Wear snd mix Gil-bert Lake taperoom sup Victoria Chu tape op Steve Duburguet snd mix sup Hassan Lehrech titles/cred-its Brendan Dee offline ed asst Nathan Hickey add snd fac Outpost score sup Sarah Lineham feat musicians Sarah Lineham, Nick Granville, Tom Mcleod 1AD Jules Lovelock script sup Pete Welling-ton prod asst/3AD Tom Kelly casting Tine Clearly, St Joseph’s School, Angela & Paul Murphy art dir Nicole Spackman art assts David Hewitt, Tom Southall m/

HOW TO GET yOUR PRODUCTION LISTEDBecause all listing information is voluntarily supplied by the production companies concerned, these pages are indicative of production activity rather than being an exhaustive record.

Smout gaffer Lee Scott b/boy Daniela Conforte lx assts Jan Kleinheins, Sally Cunningham, Royce God-dard, 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 vfx Tony St George, Brett Johansen, Kenny Smith, James Bell, Marty Chung composer Michelle Scullion cast Elliot Travers, Geraldine Brophy, Dean Knowsley, Alan Brunton, Liz Kirkman, Simon Vincent, Kirsty Peters, Rachel Clentworth, Renee Sheridan, Amy Usherwood, Ralph Johnson, Jessica Manins, April Phillips, Ben Fransham, Nigel Harbrow, Tom Rainbird, Raquel Sims, Lucy Smith, Alana Henderson, Laurence Walls, Luke Hawker, Amy Tsang

EXISTENCENZFC Escalator salvage punk Western prod co Exist-ence dir Juliet Bergh prods Mhairead Connor, Melissa Dodds writers Juliet Bergh, Jessica Charlton based on concept by Juliet Bergh, Jessica Charlton, Philip Thomas script adv Graeme Tetley 1AD/asso prod David Norris prod asst/trainee Jess McNamara prod acct Lyndsay Wilcox casting dir Tina Cleary, The Casting Company DP Jessica Charlton DP/1ac cam Aline Tran 1ac cams Kirk Pflaum, Matt Tuffin 2ac cams Marty Lang, Josh Obrien vid asst Laetitia Belen, Shane Catherall 3AD Dan Lynch chaprns Mi-randa Harcourt, Stuart McKenzie, Julie Roberts prod des Philip Thomas lead hand Geoff Goss stby prps Ryan Roche set drssr Ryle Burden prop byrs Ryan Roche, Ryle Burden prpmkrs Izzat Design prpmkrs asst Yohann Viseur r/player prp mkr Nick McGowan art dept assts Shane Catherall, Ian Middleton, Tom Mchattie, Amohia Dudding, Ivan Rooda art dept mentor Joe Bleakley thanks to Chris Streeter, Russell Murray gfx des Nick Keller armourer Hamish Bruce livestock wrangler Hero Animals, Caroline Girdlestone asst horse wrangler Monique Drake rider dble Mark Kinaston-Smith cos des Kate Trafford asst des Kris-tiina Ago m/up art Tess Clarke m/up asst Chrystal script sup Karen Alexander snd rec Nic McGowan boom op Dylan Jauslin onset PA/trainee Nick Tapp gaffer/grip Andy Rennie grip Graeme Tuckett grip/lx asst Ray Eagle, Buddy Rennie Ben stunt coord Augie Davis, Shane Rangi safety Scene Safe Rob Fullerton vfx Frank Reuter unit mgr Hamish McDonald-Bates unit asst Zoe Studd catering Blue Carrott EPK/stills Nick Swinglehurst assembly ed Paul Wadel, Gretchen Peterson ed Simon Price snd des Nick McGowan comp Grayson Gilmour adr/foley facility Underground Sound/Production Shed 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 Mc-Cauley, Matt Sunderland, Thomasin McKenzie, Peter McKenzie, Aaron Jackson, Rachel Roberts, Gentiane Lupi, Richard Freeman

FINDING HONKFeature prod co Run Charlie prods Eldon Booth, Jason Crane exec prod Irene Gardiner writer/dir Eldon Booth prod mgr Katya Masanja prod coord Zahra Archer prod asst Peta Douglas art dept Vea Mafile’o art assts Elizabeth Mafile’o, Michael McNamara DP Jason Crane cam asst Dominic Fryer snd recs Ande Schurr, Ben Vanderpoel, Mark Story ed Jarrod Wright mus Heydon Hohaia snd des Dick Reade cast Heydon Hohaia, Tapua Hohaia, Alison Bruce, John Rawls, Erroll Shand, Greg Smith, Karlos Drinkwater, Wati Edwards, Maya Dalziel, Barnie Duncan

FRIDAY TIGERS12min RED Cam prod co Notable Pictures prod Julia Parnell dir Aidee Walker scrnply Aidee Walker DP Roko Antonio Babich ed Dan Jarman 1AD Alexander Gandar f/puller Ayrton Winitana snd rec Cameron Lenart gaffer Matt Harte lx asst James Dudley prod des Laura Smith art Spencer Harrington m/up Jacinta Driver prod mgr Zanna Gillespie dir asst

Vicky Yiannoutsos cast Aidee Walker, Matariki Wh-atarau, Simon Wolfgram, Anysia Davies, John Davies, Kahurangi Carter

GHOST SHARK 2: URBAN JAWSFeature 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

JAKEFeature (RED) prod co Hybrid Motion Pic-tures 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

RUNAWAYS35mm 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 asst Richard Schofield, Sean Loftin grip asst John Whiteside script sup Shana Lang m/up/hair Paige Best sfx/m/up Sean Bridle w/robe Krysta Hardaker sfx rain Raymond Allen stunt coord Albert Heimuli catering Luscious Catering unit mgr Roan Lewisham making of Ilai Amir ed Kerri Roggio 4k scan Pete Williams, Nick Booth snd des James Hayday foley art Jonathan Bruce colorist David McLaren cast Donogh Rees, Stephen Ure, Mitchell Hageman, Thomas Hageman

SUNI MANShort prod co Opposable Thumbs writer/dir/prod Hamish Mortland prod mgr Nikki Baigent DP Andrew McGeorge 1AD Darren Mackie 2AD Sez Niederer casting dir/extras co Jay Saussey loc mgr Jeanette Bremner prod asst Alix Whittaker prod runner Rachel Ross prod des John Ioane art dir Sarah Beale art asst Lisa Ioane illustrator Niamh Purcell 1st cam asst/f/puller Dave Hammond 2nd cam asst Dave Steel vid split/ data wrangler Alan Waddingham steadicam op Dave Garbett snd rec Mike Westgate boom op Shardae Foden gaffer Gilly Lawrence b/boy Merlin Wilford lx asst Mana Lawrence key grip Tommy Park b/boy grip Adnan Taumoepeau grip asst Hamish Young script sup Shana Lang m/up/hair Vee Gulliver w/robe Sarah Aldridge safety off/onset co Dr Rebecca Mackenzie-Proctor catering Jenny Mortland, Katie Heath & Ainsley Allen unit sup Ronnie Hape unit mgr Nicki Tremain unit asst Wayne Hooper ed Simon Price asst ed Dena Kennedy script ed Kathryn Burnett stills p/grphr Mark Gore cast Beulah Koale, Murphy Koale, Maggie Tele, Mauri Oho Stokes, Patrick Tafa, Ben Timu, Andy Bryers, Aleni Tufuga, Stacey Leilua, Madhu Narsai

THE CUREDigital 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

FilmIN PRODUCTIONFANTAILprod co curious film prods Sarah Cook, Matt Noonan exec prod Ainsley Gardiner dir Curtis Vowell writer Sophie Vwell DP Ian McCarroll 1ACs Ben Rowsell, Bryce Swainson 1AD Quentin Whitwell prod mgr Dan Higgins prod des Brant Fraser stby prps Sean Black cost des Kylie Cooke m/up adv Lisa Shearer key grip/gaffer Jerry Mauger best boy Tom Davis script sup Elizabeth McGlinn snd rec Ande Schurr ed Richard Shaw ed adv Cushla Dillon cmpsr Tama Waipara script exec Katherine Fry epk dir James Boddy cast Sophie Vowell, Jarod Rawiri, Stephen Lovatt, Jahalis Ngamotu, Vincent Nelson, Vinnie Bennett, Epine Savea, Henare Erihe, Beulah Koale, Hami Pehi

MEDICINE WOMANprod co SPP (09 839 0999) prods John Barnett, Chris Hampson writer/dir Dana Rotberg line prod Catherine Madigan prod coord Michelle Leaity prod sec Sarah Banasiak prod run Aimee Russell acct Susie Butler writer/dir Dana Rotberg 1AD Hamish Gough 2AD Katie Tate 3AD trnee Lance McMinn script sup Hayley Abbott loc mgr Charlotte Gardner add loc mgr Jacob McIntyre loc asst Nina Bartlett DP Alun Bollinger f/puller Bradley Willemse 2nd AC Alyssa Kath vid split Nina Wells gaffer Gilly Lawrence b/boy Ben Corlett gene op Steve Joyce lx asst Mana Lawrence snd rec Adam Martin boom op Nikora Edwards, Sam Good prod des Tracey Collins art coord Kate Olive art dirs Davin Voot, Milton Candish set dsrs Anita Dempsey, Setu Lio constr mgr Nik Novis scenic art Paul Ny art asst Leah Mizrahi stby props Nick Williams art rnnr Jessica Leijh gfx Lisa Rushworth grnsmn Sam Hollyer sfx coord Brendon Durey cost des Tracey Collins asst cost des Kiri Rainey cost s/by Carmel Rata asst dresser Emma Ransley m/up sup Abby Collins m/up art/pros Yolanda Bartram m/up art Vee Gulliver pros des Andrew Beattie grip Terry Joosten grip asst Tim Watson unit mgr Ben Dun unit asst Andrew D’Almeida animal trainer Animals on Q stnt coord Steve McQuillan cast dir Christina Asher coach Stephanie Wilkin saftey Robert Gibson ed Paul Sutorius asst ed Shailesh Prajapati pub Tamar Munch pub asst Lucy Ewen stills p/grphr Todd Eyre adv Ngamaru Raerino, Kararaina Rangihau, Whitiaua Ropitini, Tangiroa Tawhara caterer Marvel Catering post prod Images & Sound cast Whirimako Black, Antonia Prebble, Rachel House, Nancy Brunning, Te Waimarie Kessell

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

ETERNITYFeature prod co Eternity Prods prod/dir/writer Alex Galvin co prod Eric Stark exec prods Michael Stephens, Brendon King DP Matthew Sharp prod mgrs Catherine Juniot, Sophie Gregory prod asst Amanda Berryman 1st ADs Kendall Finlayson, Lisa Fraser-Clark 2nd AD Anne Jaeger cont Marian Angeles f/puller Bryson Rooney cam assts Kim Thomas, Graham

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up/w/robe sup Kate Trafford m/up asst Azure El-lis w/robe stby Alex Boyd w/robe assts Cam Putt, Jessica Murphy f/puller Graham MacFarlane 2nd cam asst/stills Tammy Williams 3rd cam/lx asst Simon Oliver gaffer/grip Byron Sparrow gaffer Adrian Hebron lx/grip asst Chris Murphy lx asst Hansel Verkerk unit loc mgr Gabriel Page unit assts Akira, Jarryn safety off Brent Sylvester rnnrs Heather Cot-tam, Melanie Murphy, Emma Murphy chaprns Tania Milne, Pare-kotuku Porter-Samuels, Aniwaniwa Porter-Samuels, Michaela Gemmel cam Metro Film film stock Fuji grip/lx Gunmetal radios Wireless Warehouse catering Billionaires Catering, Billie Lusk coffee c4 Christchurch insurance Crombie Lock-wood cast Mabelle Dennison, Jim Moriarty, Jason Te Kare, Stephanie Matuku, Christian Dennison, Alyssa Mataiti, Daarian, Dylan, Nathan,Tyronne, Harley - Te Rakau Trust, Krystal Meyrick, Ariana McCormack, Clarisse Harman

WHEN A CITY FALLSprod 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 Christch-urch Symphony Orchestra dev Garth Campbell, Greg Jackson prod asst/snd asst Jennifer Dutton snd asst Carrie-Jo Caralyus, Rob Jamieson, Jake Sheldrake, Mag-gie Smyth, Jake Stanton footage supplied by Archive NZ, Simon Baker, Scotty Behrnes, Sam Britten, Nigel Brook, Steven Goodenough/Photo NZ, Mike Harvey, Richard Lord/Caravan Media, Brian McCausland, Logan McMillan/Gorilla Pictures, Joe Morgan, Dan Watson, Peter Young/Fish Eye Films, YouTube user Bugsandal, Anthony Dean, Wendy Ingram, Richard Harris, Tim McDonald, Finn & Sally McMillan, Shaun Ryan, Daniel Szesniak, Dawn Walsh stills supplied by David Barrell, Richard Jongens/GNS, Carys Monteath/The Press, Gillian Needham/Getty, Philip Pearson, Geoff Sloan/The Star, Malcolm Teasdale/Kiwirail stills p/grphr Richard Lord/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

TelevisionPRE PRODUCTIONAVALANCHE HUNTERS3x43mins n/wrk Eden TV dist Naked Flame prod cos Making Movies, Bear Cage co pro New Zealand/Australia exec prods James Heyward, Michael Tear prods Andy Salek, Hugh Barnard writers Hugh Barnard, James Heyward pres Jordy Jendrikx

TANGAROA WITH PIO SERIES 813x26min fishing/lifestyle b/caster Mäori TV prod co AKA Prods prod/dir Aroha Shelford pres Pio Terei cam op Richard Curtis u/w cam Dean Savage snd Colleen Brennan te reo Mäori Tumamao Harawira ed John Fraser aud post Reade Audio mus Reo Dunn, Woodcut gfx Lettica Shelford prod acct Lee Ann Hasson prod mgr Karen Sidney prod asst Shelly Matiu n/wrk execs Annie Murray

THE WILDE BUNCHprod co Subtext prod/dir Mike Smith prod Judith Trye script prod Paul Yates writers Jamie Bowen, Amanda Allison, Dean Butler, Sam Smith, Leon Wadham DP Grant McKinnon prod des Miro Harre cost Pauline

Bowkett prod coord Donna Pearman prod sec Vanessa Macedo prod run Marcel Vidot acct Alex Cole-Baker art dir Petelo Vaihu prod run Amy Hutton 1AD Craig Wilson 2AD Ainsley Allen 3AD Rebecca Webb cam op Peter Janes 1ACs Lee Allison, Graham MacFarlane digi tech Richard Simkins caterers Peter Bonifant, Will Keely cont Kristin Witcombe cost stby Cecilie Bridgford cost run Ngametua Paitai ed Lisa Hough asst ed Emily Farr grip Todd Neville lx Brian Laird, James Young, Mike Toki loc mgr Nina Bartlett unit mgr Paul Fleming m/up Jean Hewitt m/up asst Kate Wilcox snd rec Dave Hurley boom op Eoin Cox sfx Gunner Ashford stunts Mark Harris cast Tammy Davis, Oliver Driver, Morgana O’Reilly, Erroll Shand, Molly Tyrrell, Ian Mune, Mick Innes, Adam Gardiner, Aleni Tufuga, Jennifer Ward-Lealand, Tainui Tukiwaho, Jim McLarty, Sally Stockwell

WHAT NOW120min weekly live kids show pres Gem Knight, Adam Percival, Ronnie Taulafo, Johnson Raela eds Michelle Bradford, Tyler King audio post Whitebait Facilities, Vahid Qualls, Dave Cooper props Warren Best, Rosie Taurima w/robe Wilma Van Hellemond stylist Lee Hogsden asso prod mgr Joshua Pollard writers Andrew Gunn, Jeff Clark dirs asst Jenny Murray post prod dir Franc Bol gfx des Matt Landkroon, Yosef Selim rsrchr Joanna Manson prod asst Charlotte Meads prod mgr Sharyn Mattison studio dir Kerry Du Pont creative prod Jason Gunn Live in your Living Room asso prods Martin Hales, Rebecca Browning asso prod Josh Wolfe prod Reuben Davidson exec prod Janine Morrell-Gunn n/wrk exec Kathryn Graham

WILD ABOUT NEW ZEALAND6x60min HD doco prod co NHNZ (03 479 9799) for TVNZ, NZOA Platinum Fund exec prod John Hyde series prod Nicky Hammond prod mgr Suzanne Lloyd field dirs Nicky Hammond, Alex Clark rsrchr Marcus Turner prod assts Michael Henríquez, Claire Clements, Rob Bridgeman, Amy Anderson, Joey Bania cam Alex Hubert snd Daniel Wardrop host Gus Roxburgh

IN PRODUCTIONATTITUDE - 740x29min disability focused docos prod co Attitude Pictures prod Robyn Scott-Vincent dirs Emma Cal-veley, Magdalena Laas, Richard Riddiford, Wendy Colville prod mgr Sue Wales-Earl prod trainees Brent Gundesen, Daniel Wrinch, Emily Martin prod acct Jane Cotter rsrch Tanya Black, Dan Buckingham, Ann-Marie Quinn cam Sean Loftin snd Damon Arts, Eugene Arts gfx Brandspank ed Attitude Pictures offline eds Simon Hyland, Jai Waite online ed Simon Hyland snd TVNZ, Simon Weir reporters Tanya Black, Dan Buckingham

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

BOTH WORLDS10x26min special interest prod co Notable Pictures prod Julia Parnell dirs Dane Giraud, Stephen Kang, David Hay DP Richard Harling snd op Cameron Lenart eds Tim Grocott, Brough Johnson prod mgr Zanna Gillespie res Angelique Kasmara

COASTWATCHprod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Megan Jones prod mgr Angela Burgess prod coord Carita de Jong, Wendy Tetley fund TVNZ

COUNTRY CALENDAR 201226x30min rural NZ lifestyles prod co TVNZ exec prod Tina McLaren prods Julian O’Brien, Dan Henry prod mgr Robyn Best dir/reps Frank Torley, Jerome Cvitanovich, Carol Archie, Kerryanne Evans, Katherine Edmond, Dan Henry res Vivienne Jeffs

DOG SQUADprod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Kate Peacocke prod mgr Laura Peters prod coord Wendy Tetley fund TVNZ

FAMILY REPORT10x30min prod co The Gibson Group exec prod Dave Gibson prod Jane Robertson asso prod Sam Stacey prod mgr Inga Boyd rsrchr Sarah Boddy dirs Dan Henry, Alison Horwood fac mgr Rex Potier prod acct Kathy Regnault n/wrk exec Sue Woodfield

FROCK STARS (WT)6x30min HD doco prod co NHNZ (03 479 9799) for Smithsonian exec prod Judith Curran series prod Judith Curran prod mgr Robyn Pearson rsrchrs Katy Kassler series dir Lauren Thompson prod coord Katy Kassler DP Jenna Rosher, Scott Shelley cam 2 Andrew Mungai, Petr Cikhart, Robin Mueller cam asst Jason Huggins, Jonathan Lester, Ezequiel Caseares, Brodee Smith field snd Barry Weissman, Paul Cote offline eds Cameron Crawford, Marilyn Copland

GOLDENSeries 1, 6x30min comedy prod co SPP (09 839 0999) exec prods John Barnett, Chris Bailey prod Charlotte Hobson line prod Sharron Jackson writers Lucy Schmidt, Stayci Taylor accts Lee-Ann Hasson, Elisha Calvert dir Katie Wolfe ed Jochen Fitzherbert asst ed Kerri Roggio post prod sup Dylan Reeve pub Tamar Munch pub asst Lucy Ewen stills p/grphr Matt Klitscher cast Lucy Schmidt, Jesse Griffin, Joel Tobeck, Jennifer Ludlam

GOOD MORNING 2012prod co TVNZ exec prod Tina McLaren prod Sally-Anne Kerr line-up prod/ed Melanie Phipps script ed/line up prod Dominic Smith prod mgr Terri MacFarlane dir Barbara Mitchell pres Rod Cheeseman, Jeanette Thomas DA Samantha Fisher advt prod Amber Smith advt mgr Donah Bowers-Fleming advt prod asst Isabella Stimpson spnsrship mgr Merril Thompson rsrchrs Cinna Smith, Daniel Hood, Fiona Cumming, Liana McPherson, Marilyn McFayden script ed/rsrchr Adrienne York prod asst Julia Lynch 2nd floor mgr Giverney Cootes stylist/props Anna Clark greenrm host Aoiffe Richmond seg-ment pres Matai Smith, Astar Kirkpatrick

HINDSIGHT SERIES 313x30min current affairs prod co TVNZ prod unit TVNZ n/wrk exec Philippa Mossman exec prod Tina McLaren prod Damian Christie ed Gary Young res Sofia Wenborn prod mgr Stewart Jones pres Damian Christie ICE CAPTAIN90min 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 gaf-fer 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

I SURVIVED 530x60min HD doco prod co NHNZ (03 479 9799) for A&E TV exec prod Alan Hall sup prod Penny Ashbrook prod mgrs Dayle Spavins, Robyn Pearson rsrchrs Stephanie Antosca, Bridget Baylin, Amy Tenowich, Amy Kagelmacher, Karen Price, Tucker Bowen, Hillary Heath, Valerie Aburn, Megan Parlen, Deirdre Cossman, Lisa Moderelli Werner, Myra Morris, Ann Lieber, Diane Hassan dir Sally Howell DP Kris Denton prod coord Dwayne Fowler 2nd unit cam Lindsey Davidson post dirs Jacqui Crawford, Peter Holmes, Kelly Meade offline eds Chris Tegg, Jeff Avery, Mark Orton

I SURVIVED…BEYOND AND BACK10x60min HD doco prod co NHNZ (03 479 9799) for A&E TV hd prod Andrew Waterworth exec prod Judith Curran series prod Janice Finn prod mgr Ro-byn Pearson rsrchrs Nadia Izakson, Becky Beamer, Alissa Collins Latensa, Kelly Meade dirs Judith Cur-ran, 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 PATROLprod co Greenstone ho prod Andrea Lamb prod Kate Fraser prod mgr Jody Phillips prod coord Kali Moss fund TVNZ

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

NEW ZEALAND FROM ABOVE5x43mins n/wrk ZDF Arte/Prime/NatGeo dist Naked Flame prod cos Making Movies, Gebrueder Beetz, Bear Cage co pro New Zealand/Germany/Australia exec prods James Heyward, Michael Tear prod Andy Salek dir Bruce Morrison aerial DP Andy Salek DP Marty Williams writers James Heyward, Bruce Morrison res prod Hugh Barnard line prod Liz DiFiore media mgmt Jerri Halliwell pilot Alfie Speight

NOTHING TRIVIAL 213x60min drama/comedy prod co SPP (09 839 0999) exec prods John Barnett, Rachel Lang, Gavin Strawhan prods Chris Bailey, Britta Johnstone line prod Tina Archibald prod mgr Jo Tagg prod coord Mariya Nakova prod sec Tim Burnell prod rnnr Olivier Campana writers Rachel Lang, Gavin Strawhan, Fiona Samuel, Nick Ward, Kate McDermott script coord Rachael McMahon, Jo Johnson acct Lee-Ann Hasson asst acct Sheree Silver dirs Murray Keane, Peter Salmon, Kathy McRae, Josh Frizzell 1ADs Gene Keelan, Shane Warren 2ADs Kate Hargreaves, Kylie Drew, Michelle Sowman 3AD Estelle Chatenoud script sups Gabrielle Lynch, Lisa Cook loc mgr Benny Tat-ton DP Rewa Harre, Kevin Riley cam op Oliver Jones A f/puller Peter Cunningham B f/puller Cameron Stoltz 2nd asst cam Fiona Young cam trainee Ben Firman gaffer Nare Mato b/boy Trent Rapana gene op Sam Clark lx asst Jackson Cullen key grip Gary Illingworth grip asst Conrad Hoskins snd rec Mark Williams boom op Kyle Griffiths snd asst Adnan Taumoepea prod des Gary Mackay art coord Karen Mackay off set art dir Emily Harris on set art dir Greg Allison, Andy Currie stby props James Rennie, Lia Neilson set dec Anita Dempsey set dec asst Domini Calder stby asst Tom Willis, Brooke Darlison gfx Sarah Dunn construct mgr Chris Halligan cost des Katrina Hodge cost coord Rewa Lewis cost byr Charlotte Rust cost dress Alexandra Carter cost s/bys Hannah Woods, Petra Verweij cost asst Daisy Uffindell m/up des Shannon Sinton m/up assts Lisa Foothead, Verity Griffiths, Jacinta Driver unit mgr Amy Russo unit asst Deborah Boylan cast dir Annabel Lomas safety Lifeguard & Safety eds Allanah Milne, Jochen Fitzherbert, Paul Maxwell post prod sup Grant Baker snd post sup Steve Finnigan mus cmpsr Callie Blood, Wayne Bell catering Luscious Catering pub Tamar Munch pub asst Lucy Ewen cast Blair Strang, Tandi Wright, Debbie Newby-Ward, Shane Cortese, Nicole Whippy

Production listings

POLICE TEN 740x30min 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 2012prod 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

RESTORING HOPE1x52min doco charting the Maori restorative justice process prod co Notable Pictures prod Julia Parnell dir Eugene Carnachan prod mgr Zanna Gillespie

RURAL DELIVERY 840x30mins weekly prod co Showdown Productions exec prod Kirsty Cooper prod Tracy Mika line prod Emma Slade dir Jerome Cvitanovich, Kirsty Cooper prod mgr Barbie Nodwell prod coord Andrea de Klerk DP Richard Williams rsrchrs Richard Bentley, Jerome Cvitanovich, Hugh Stringleman, Marie Taylor ed Christine Jordan presenter Roger Bourne

SAFEHOUSE1x90min drama prod co Screentime exec prod Philly de Lacey prod/dir John Laing prod Bridget Bourke prod coord Jo Finlay prod sec Sarah-Jane Vercoe cast dir Terri De’Ath 1AD Mark Harlen 2AD Sarah Rose 3rd AD Esther Clewlow prod rnnr Melinda Jackson prod des Chris Elliot art dir Brant Fraser on set art dir Adam Bilik art dept coord Megan Robertson stby props Sam Evans props asst Kylie Harris constr mgr Mathew Thomson DP DJ Stipsen cont Hayley Abbott gaffer Phil Totoro b/boy Danny Fepuleai gene op Puna Patumaka key grip Evan Pardington b/boy grip Mike Coney snd rec Adam Martin boom op Kyle Griffiths stunts Mark Harris cost des Tracey Sharman w/robe sup st/by Carmel Rata drssr Adele Hing m/up sup Stefan Knight m/up stby Shannon Sinton cost rnnr Marina Serrao loc mgr Sean Tracey-Brown safety coord Robert Gibson on set safety Steve Jennings unit mgr Nod Anderson caterers Luscious Catering prod acc Barbara Coston ed Allanah Milne ed asst Kerri Roggio legal Karen Soich

SAVING TUNA1x60mins MTS doco prod co The Gibson Group prods Gary Scott, Fiona Apanui-Kupenga dir Emily McDowell prod mgr Alison Black cam op Mike Jonathon

SHORTLAND STREET5x30min weekly prod co SPP exec prods John Barnett, Simon Bennett prod Steven Zanoski line prod Liz Adams dirs Geoff Cawthorn, Katherine McRae, Richard Barr, Wayne Tourell, Oliver Driver script prod Paul Sonne head writer Kim Harrop s/liners Kirsty McKenzie, Alistair Boroughs, Caley Martin, Joanna Smith, Damon Andrews, Aimee Beatson med adv Sally Geary, Sarah Nevitt script eds Lynette Crawford-Williams, Karen Curtis script eds asst Nina Vlahovic prod coord Kinta Jennings prod sec Kylie Newman script typ Eva Yang prod acct Stephanie Dahlberg acct asst Natalie Millerchen loc mgr Bryce Wood 1ADs Michele Priest-Edmondson, Moe Hobbs, Flora Woods, Jimmy Scott 2ADs Francis Koon, Katie Dallimore 3AD Cat Henshall prod rnnr Aaron Levi dir assts Kathe Calis, Sarah Brinsdon, Laurel Urban tech prod George Platt tech coord Bryn Collins vis mix Fran Hodgson lx asst Chris Watkins loc DP Drew Sturge loc gaffer Drew Wright cam ops Nigel Roberts, Nick Hayward cam asst Daniel Lacy snd rec Greg Moon boom op Andrew Lusk prod des Ana Miskell art dirs Ross Goffin, Andy Currie, Natalie Tsuchiya art dept mgr Liz Thompson-Nevitt stby prps Scott McDowall, Logan Childs art dept assts Katherine Sasse, Brooke Darlison gfx coords Alex Kriechbaum, Sarah Dunn cost des Nicola New-man asst cost des Rebecca Jennings cost stndbys Katie Jones, Kelly Marumaru, Keri Wheeler cost asst Rowena Smith cost trnee Galareh Golbakhsh laundry asst Jan Beacham hair/m/up sup Rebecca Elliott m/up Ambika Venkataiah, Katie Fell, Sophie Beddoes eds Anna Benedikter, Matthew Allison asst ed Lorne Haugh Post 4 Sound & Video snd mixrs Simon Weir,

Graham Wallace cast dirs Andrea Kelland post prod sup Dylan Reeve pub Rachael Keereweer pub asst Chris Henry dialogue coach Bree Peters asst chaprns Renee Lyons, Shirley Duke comp Graham Bollard p/grphr Jae Frew caterer Rock Salt cast Michael Galvin, Angela Bloomfield, Amanda Billing, Robbie Magasiva, Benjamin Mitchell, Peter Mochrie, Matt Chamberlain, Beth Allen, Sally Martin, Jacqueline Nairn, Ido Drent, Pearl McGlashan, Geordie Holibar, Frankie Adams, Virginie Le Brun, Tyler Read, Amelia Reid, Teuila Blakely, Brooke Williams, Gerald Urquhart, Pua Magasiva

SHOWTIMEprod co Greenstone ho prod Andrea Lamb exec prod Ashley Stuart Coupland prod Sam Blackley field dir Esta Hutchins prod mgr Angela Burgess prod coord Rochelle Leef fund NZOA/TVNZ

SPARTACUS10x60min graphic action-drama US prod cos Starz Media NZ, Pacific Renaissance exec prods Rob Tapert, Sam Raimi, Josh Donen, Steven S. DeKnight prod Chloe Smith line prod Mel Turner prod dir Rick Jacobson asso prods Paul Grinder, Moira Grant prod mgr Tara Landry prod coords Helen Urban, Amber Wakefield rig coord Fiona Wadman asst prod co-ord Meredith Black prod sec Olivia Marshall prod as-sts Tim Armstrong, Rebecca Rowe, Andy Brown, Petra Gray prod rnnrs Carlos Santos, Scott Litchfield prod acct Sherie Wikaira asst accts Lissa-Mia Smith, Maya Abu-Mansour p/roll acct Alicia Lee acct assts Annie Baines, Clayton Smith cast dirs Annabel Lomas, Faith Martin key cast coord Honor Byrne cast coord Tim Judson cast driver Julie Gunson extras cast Anita Corcoran extras cast coord Marjan Gorgani extras cast assts Kesha Robertson, Jared White dir ep1, ep6 Mark Beesley dir ep2, ep7 Jesse Warn dir ep3 John Fawcett dir ep4, ep9 Michael Hurst dir ep5, ep8 TJ Scott dir ep10 Rick Jacobson DPs John Cavill, Dave Garbett, Adam Clark cam ops Ulric Raymond, Todd Bilton, Andrew Stroud 1ACs Henry West, Dave Ham-mond, Willy Pearce 2ACs Alex Glucina, Tom Markham Short, Gray Turner 3AC Neal Wagstaff digi op Chris Lucas digi asst Robert O’Connor 1ADs Axel Paton, Hamish Gough,Edd Bennetto 2ADs Paddy Compt-er, Katie Hutchinson, Katie Tate 2nd 2ADs Stuart Morrice, Lynn Hargreaves 3ADs Arielle Zadok, Andrew Burfield, Ant Davies, Tref Turner sup art dirs Nick Bas-sett, Mark Grenfell, George Hamilton asst art dir Nick Connor set des Neil Kirkland, Lilli Knight constr mgr Murray Sweetman lead hnds Graham Harris, Bryan Gravatt hd scnic art Paul Radford scnic painters Troy Stevens, Tane Griffen hd plasterer Zane Grey art dept coord Thea Govorko prps master Rob Bavin set decs Eliza Meldrum, Megan Vertelle set drssrs Angus Kurr, Colin Elms lead fab Hamish Wain lead text Sarah Bailey Harper text Patricia Dennis prps/byr Tasha Lang props asst Michael Morgan stby prps Zac Becroft stby prps asst Olly Southwell art rnnr Joseph Griffen horse master Wayne McCormack prps/pros des Roger Murray cost des Barbara Darragh cost sup Shani Gyde asst cost des Olivia Dobson key stbys Joan Wilson, Ylona McGinity, Alistair Johns stbys Naomi Campbell, Hanna Geor backgrnd stbys Am-ethyst Parker, Jess Neff cost byr Sara Beale wkrm sup Marion Olsen key cost props Natalie McAndrews, Sally Maingay cost rnnr Ryan Freeman m/up /hair des Denise Kum m/up /hair sup Vanessa Hurley onset m/up /hair sup Susie Glass, Stefan Knight, Lauren Steward m/up /hair art Hayley Atherton, Charlie Rogers, Pilar Alegre, Jo Fountain, Kyra Dawkins, Aly Williams, Samantha Lees, Jacqui Leung, Vee Gul-liver m/up pros art Shay Lawrence, Hayley Oliver m/up /hair dept coord Jasmine Papprill bkgrnd m/up/hair Jo Baker, Matt Huckstep, Carmen Te Moananui m/up /hair asst Tamara Eyre, Deanna Highsted-Jones, Danielle Orme strybd Ed Butler script sups Di Moffatt, Monique Knight, Guy Strachan gaffers Tony Blackwood, John Enright b/boys lx Tane Kingan, Luke Macready gene ops Aidan Sanders, Simon Schaetzle lx rig sup Allan Solly lx rig tech Jason Kerekere key grip Kayne Asher dolly grip Daimon Wright rig grip Jared Edley, Simon Lythgoe b/boy grips Andy South, Peter Cleveland crane op Karl Rickard-Worth grip as-sts Chris Rawiri, Te Oranga Witehira snd mix David Madigan, Fred Enholmer boom op Kelly Stewart snd utility Sandy Wakefield key stunt coord Allan Pop-pleton stunt coord Clint Elvy, Shane Dawson, Steve

McQuillan asst stunt coord Ryan Carey stunt dept coord Erika Takacs sfx sup Brendon Durey sfx snr techs Steve Yardley, Dagan Jurd sfx tech Brin Comp-ton, John Towe sfx asst Eliot Naimie safety Willy Heatley, Nick Fryer, Jeff Hales studio mgr Karl Smith unit mgr Jason Sietu trans cap Aaron Gibson craft svce mgr Abby Jones unit b/boy David Saena bts arcvst Clinton Haugh stills Matt Klitscher co prod Charles Knight post prod sup Kylie Harris post prod coords Margaux Peach, Alex Hammond post rnnr Anthony Butters eds Gary Hunt, Allanah Milne, Tom Eagles, Jonathan Venz vfx sup Charlie McClellan vfx prod Romola Lang vfx art dir Peter Baustaedter vfx concept art John Walters, Berrin Moody vfx eds Stephen McHardy, Anu Webster vfx onset sups Tim Capper, Zane Homes vfx set coord Amanda Boock vfx onset tech asst Nick Hamilton vfx post coord Ryan Heelan, April Lougheed, Anna Cottle

THE ART OF ARCHITECT 44min prod co TVNZ Production Unit exec prod Tina McLaren prod Gavin Wood prod mgr/prod acct Naomi Marsh dir Dean Cornish pres Peter Elliott sen rsrchr Sue Donald rschrs Sarah Jones, Sue Killian ed Doug Dillaman

THE AUSTRALIAN WOMEN’S WEEKLY – ‘ENTERTAINING IN STYLE’ prod co/unit TVNZ exec prod Tina McLaren prod Gavin Wood prod mgr/line prod Julia Leonard dir Rob McLaughlin pres Sarah Bradley rsrchr Min Mathieson

THE ERIN SIMPSON SHOW30min wkday youth show prod co Whitebait-TV pres Erin Simpson reporters Kimberley Crossman, Katy Thomas, Isaac Ross, Mark Dye, Eve Palmer prod coord Kim Johnston studio rsrchr Nicola Eton dir asst Tom Dyson art dept Lennie Galloway cam op Matt Martini ed/cam op Nathan McKinnon w/robe Lee Hogsden website Kieran Granger eds Stu Waterhouse, Tyler King audio post Vahid Qualls gfx Mike Boulden rsrchr Juliana Murphy post dir Tracey Geddes dir Nigel Carpinter prod mgr Jo Eade asso prod Penny Watson prod Emma Gribble exec prod Janine Morrell-Gunn n/wrk exec Kathryn Graham

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

THE INVESTIGATIONprod co Greenstone ho prod Andrea Lamb prod Sam Blackley prod mgr Angela Burgess rsrchr Nicola Wood, Gemma Murcott prod coord Wendy Tetley fund TVNZ

THE ZOOprod co Greenstone ho prod Andrea Lamb prod Tash Christie dir/loc coord Candace McNabb prod mgr Lau-ren Lunjevich prod coord Rochelle Leef fund TVNZ

ULTIMATE ANIMAL COUNTDOWN10x60min doc prod co NHNZ (03 479 9799) prod co Nat Geo Wild exec prod Andrew Waterworth series prod Ian McGee post prods Giles Pike, Brant Backlund eds Jason Lindsey, Thomas Gleeson, Sandy Pantall archive prod Lemuel Lyes media mgr Wayne Biggs rsrchr Nigel Dunstone snd Errol Samuelson, Stacey Hertnon vid post Stu Moffatt, Ulf Uchida, Frank Lodge, Wayne Poll prod mgr Glenda Norris

POST PRODUCTIONCLINICAL YEARS1x60min doco prod co PRN prod/dir Paul Trotman cam Scott Mouat, Stephen Dowwnes, Wayne Vinten snd Brian Shennan ed Cameron Crawford

CROCZILLA1x60min HD doco prod co NHNZ (03 479 9799) for Nat’l Geographic Channel exec prod Craig Meade dir Kate Siney DP Rob Taylor post prod Job Rustenhoven ed Marilyn Copland snd post Errol Samuelson music Leyton prod mgr Christina Gerrie

DESCENT FROM DISASTER6x60mins prod co Screentime exec prod Philly de Lacey prod Ross Peebles line prod Carolyn Harper dirs Ross Peebles, Mary Durham, Bryn Evans, Howard Taylor visual dir Rupert Mackenzie rsrchr Dianne Lindesay prod coord Olivia Lynd eds Roger Yeaxlee, Margaret Kelly online ed Keith McLean

GEM HUNTER1x60min 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 ed Josie Haines snd post Alan Gerrie mus Leyton

OPERATION HERO10x30min prod co The Gibson Group exec prod Dave Gibson prod Bevin Linkhorn prod mgr Inga Boyd dirs Dan Henry, Michael Huddleston pres Dayna Vawdrey eds Nathan Hickey, Mike Townsend fac mgr Rex Potier prod acct Kathy Regnault n/wrk exec Kathryn Graham

SHACKLETON’S CAPTAIN85min feature prod cos Making Movies, Gebrueder Beetz n/wrks TVNZ, ZDF, ARTE dist ZDFE writers James Heyward, Leanne Pooley, Tim Woodhouse prods James Heyward, Andy Salek line prod Liz DiFiore dir Leanne Pooley dir assts Kelly Krieg, Olivia Garelja prods PA Katie Bolt 1AD Hamish Gough 2AD Katie Tate 3AD Andrew Burfield prod assts Ellie Callahan, Rachel Choy, Shannon Ween prod intern Lisa Brown prod runners Jasmine Rogers-Scott, CJ Withey, Emma Behrns, Nathaniel Sihamu prod des Roger Guise on set art dir Geoff Ellis propmster Paul Dulieu props mker Phil Gregory art assts Clarke Gregory, Jim Anderson constr mgr William Schmidt DP Simon Baumfield 1st cam assts Graham MacFarlane, Roger Feenstra 2nd cam assts Kim Thomas, Jacob Slovak vid splt/data intern Leigh Elford 2nd unit DP John Cavill 2nd unit ac George Hennah 2nd unit 2nd ac Meg Perrot snd Myk Farmer conts Rachel Choy, Katie Theunissen gaffer Thad Lawrence b/boy Tony Slack lx assts Merlin Wilford, Gilly Lawrence, Steven Renwick, Ben Corlette, Sam Jellie, Jack Gow key grips Kevin Donovan, Jim Rowe b/boy grip Chris Rawiri grip assts Winnie Harris, Chris Tait grip trainee Sam Donovan spfx Film Effects Company spfx sup Jason Durey spfx office coord Tanya Bidois spfx snr tech Mike Cahill spfx techs Graham Nixon, Rowan Tweed, John McLaren, Eliot Naime, Michael Lawton spfx runner Gavin Ravlich cost des Suzanne Sturrock w/robe stdby Cathy Pope w/robe assts Charlotte Turner, Amber Rhodes m/up des Davina Lamont m/up arts Michele Barber, Tash Lees, Hayley Oliver, Debbie Watson, Levonne Scott safety coords Scene Safe, Chris Griggs, Sam Armitage nautical adv Kevin Donovan unit mgr Samuel Shelton unit asst David Shope caterers Bonifant & Saxby epk/stills Cristobal Araus Lobos, Andy Salek cams Panavision prod acc Kylie Strain ed Tim Woodhouse cmpsr John Gibson post prod sup Grant Baker vfx prod Cris Casares vfx sup Brenton Cumberpatch vfx arts Brenton Cumber-patch, 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

SIEGE1x90min 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 acc Barbara Coston ed Margot Francis ed asst Nicki Dreyer legal Karen Soich

THE MAKING OF THE OPERA: HOHEPAFeature doco that follows the international cast as they rehearse the groundbreaking opera by Jenny McLeod. A NZ cultural and artistic milestone prod cos Focus Films & Hawke Films prods/dirs/cams Craig McLeod, Keith Hawke thanks to the cast and crew of Hohepa especially cmpsr Jenny McLeod dir Sara Brodie conductor Marc Taddei narrator Rawiri Paratene, singers Phillip Rhodes, Nicky Spence, Jonathan Lemalu, Jenny Wollerman, Deborah Wai Kapohe & the chorus. Also Vector Wellington Orchestra & NZ Opera general director Aidan Lang

Production listings

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