The New Zealand Film Commission has released its Statement of Intent for 2011- 2013 outlining plans to continue its focus of getting New Zealand films made to be seen and by both local and international audiences.

The priorities for the near future will see the Commission adopt an integrated approach to meeting cultural requirements while helping build the film economy; find more innovative and cost effective ways of delivering within existing and declining funding; encourage private sector funding; and implement recommendations from the David Court and Sir Peter Jackson review of the Film Commission.

The Commission’s projected income for 2011/2012 is down almost 15% on the 2010/2011 year, and based on current projections there will be minimal reserves available to bolster funding by 2013/2014.  That could likely lead to a reduction in the number of feature films which the Commission can support and means the need for value for money is more important than ever.

Since its inception, the Film Commission has invested more than $200 million in 148 New Zealand made feature films and has fully funded almost 300 short films.

The Commission has an extensive support programme for film-makers covering everything from low budget short films, script and production development, and sales and marketing services for feature films of all budgets.  It also runs the Escalator scheme for first feature film-makers, while administering the Screen Production Investment Fund and Large Budget Screen Production Grant at the other end of the scale.  These initiatives allow the Commission to help film makers make their first film, support them for subsequent films and ensure those who are successful continue to make their films right here in New Zealand.

For more information the Statement of Intent can be read at www.nzfilm.co.nz

Pollywood Pasifica Short film Festival is now into its ninth successful year, this is an event to watch out for. With each year growing bigger and better, Pollywood has largely become a launching pad for Pasifika Film and multimedia art for the past 9 years. The core focus of Pollywood is to showcase and celebrate Pacific Island writers, Directors and Actors.  Pollywood is the leading Pacific Island short film festival in New Zealand.

Each screening will be introduced by curator Craig Fasi, and promises to please audiences from across Auckland. “I am hubled by the status of films that have been sourced  for this years festival, in light of so much that has changed over the years. I am thankful that Pollywood is still delivering quality Pacific Island art for the community”says Mr Fasi.

There is seven films which will be screened in total with just over 80 mins of heartfelt stories to be showcased. With such a varied mix of short films there is bound to be something for everyone, so get your tickets now. All are welcome.

The premiere of Pollywood Nine2011 is set for Wednesday the 16th of March At Galatos, Galatos Street, Newton 7:30pm.

For more information on this event and ticket bookings please follow this link

Sam Peacock director of award winning film "Manurewa"

Manurewa, directed by Sam Peacocke, was awarded a Crystal Bear in the Generation 14plus Youth Section of the competition.

The jury awarded the film the prize with these comments on the strength of the project: In a very short time this film synthesises and skilfully compresses independent story lines and characters, merging them together into a single irrevocable, ever-changing moment. Our winning film is not only about perpetrators and victims, but also about human beings.

Manurewa explores the tragic murder of Manurewa liquor store owner Navtej Singh and is acclaimed music video director Sam Peacocke’s debut short film. Produced by Kristian Eek, the film is a multi-stranded narrative impression of the real life robbery and fatal shooting that took place in South Auckland, New Zealand. The film premiered at the Melbourne International Film Festival in July 2010.

The Generation programme receives over 6000 submissions each year and the selection comprises 32 short films and 27 feature length films from 32 countries.

Manurewa was self-funded by the filmmakers and relied on the generous support of sponsors Fuji Film New Zealand, Panavision New Zealand and Park Road Post.

The film was shot on 35mm with a skeleton crew, utilizing available light as much as possible. It was shot on location in South Auckland and features mostly non actors. The film was made with the blessing of the Sikh community and the family of the victim.

Manurewa received post production funding from the NZ Film Commission who also supported Sam Peacocke to attend the festival. International sales for the film are handled by NZ Film, which is the sales arm of the NZFC.

The 61st Berlin International Film Festival ran from the 10th – 20th February 2011. For more information about the Berlin International Film Festival please follow this link

Kingdom Come Set

After repeated stalls in funding, and major financial problems the set built in 2008 for Kingdom Come was abandoned by film makers and returned back to New Zealand Defence force.

The abandoned Wellington set for the stalled biblical film Kingdom Come has been dismantled and removed by the Defence Force at a cost to taxpayers of $70,000.

The $180 million film about the life of Jesus was due to be shot in early 2009 before financial problems put an end to it.

The set, which was built in 2008 on Wellington’s Miramar Peninsula, was rotting and covered in graffiti by the time it was pulled down, the Dominion Post reported.

Lawyer for South Vineyard production company Stephen Brown said they had handed the site back to the New Zealand Defence Force (NZDF), which was removing the spray-painted polystyrene structures from the site.

However, he said the company was continuing to get the appropriate funding in place to get things up and moving again.

“The company has deliberately decided to abandon that set. It was much too lavish for what was required and we can do the same thing on an indoor set,” Mr Brown said.

NZDF director of housing and property Peter Bollmann said removal work started just before Christmas, at an estimated cost of $70,000.

Kingdom Come Set

“Nobody agreed to contribute to the cost but it became a bit of a health and safety issue… it was a very large, light-weight structure which we thought had to come down.”

Some of the money may be recouped from those involved with the production, he said.

The NZDF is planning to sell land on Miramar Peninsula.

Kingdom Come owed about $40,000 in unpaid rent, Mr Bollmann said.

The collapse of the film cost creditors $5.8m.

For the full story please follow this link

The four greenlit films are:

Existence

Juliet Bergh, Writer/Director; Jessica Charlton, Writer; Mhairead Connor, Producer; Melissa Dodd, Producer

Existence is a salvage punk Western set in a post-apocalyptic future. Trapped by her circumstances behind an enclosing fence, Freya dreams of escape and pursues a mysterious outsider who can free her. She destroys her world to discover that the reality of her existence was not what she imagined.

House Bound

Gerard Johnstone, Writer/Director; Luke Sharpe, Producer

When serial offender Kylie Baxter is placed on home detention, she is forced to come to terms with her dithering parents, her unsociable attitudes and a tormented soul that lives within the walls.

I Survived a Zombie Holocaust

Guy Pigden, Writer/Director; Harvey Neville, Writer; Zoe Hobson, Producer

Wesley, a young runner on a zombie film set, has the first day from hell when real zombies overrun the film set… Who are the real zombies and who are the extras? Decapitate with care!

Timeslow

Sally Tran, Writer/Director; Omar Crawford, Writer; Owen Hughes, Producer

Henry is forced to re-evaluate his entire life when he discovers the secret to slowing down time and is propelled into a shifting world of intrigue and danger.

Launched earlier this year, Escalator invited filmmakers to form creative teams of two or more individuals and present three first stage applications to the NZFC for consideration. 251 teams responded with 753 feature film ideas. From this number, 12 teams were chosen to attend a three-day low budget boot camp in June, and then given three months to develop one of their ideas. The final applications for full production financing were considered by an industry panel, the membership of which is Rachel Gardner, Cushla Dillon, Jason Stutter and Rolf de Heer. Short Film Manager Juliette Veber, represented the NZFC on the panel.

Making the announcement, NZFC CEO Graeme Mason said the Escalator scheme had exceeded expectations and NZFC staff had particularly enjoyed the collaborative way the filmmakers worked together, “We had multiple people change their minds about stories they wanted to tell out of the three they pitched. The fluidity between the teams, all supporting each other was exciting and points positively to the future.”

Simultaneous functions being hosted by the NZFC in both Wellington and Auckland were connected by a live stream which were viewed online at the Escalator 2010 Green light website www.escalator.net.nz

Taika Waititi

Popularity and fame a definite surprise, but welcomed by all local NZ film makers debuting in the Doha Tribeca Film Festival . The visual effects supervisor for Weta does not usually get mobbed for autographs. Nor does he normally have people queuing to have their picture taken with him.

That sort of crazed fan behaviour tends to be reserved for the Hollywood stars with whom Wellington-based Matt Aitkin has worked with, on films like Avatar, King Kong and the Lord of the Rings series.

But here, following his talk at the second ever Doha Tribeca Film Festival, in the United Arab Emirate of Qatar, Aitken seems to have brought a little of big time Hollywood glamour to this relatively small, and new, film festival.

International stars like Kevin Spacey, Robert de Niro, Salma Hayek and director Julian Schnabel have made, or will make, appearances here this week alongside a sprinkling of Bollywood actors and names better known to the Arab world.

The nightly red carpet appearances always draw a crowd.

And this afternoon, it is Aitken’s turn. He has managed to entertain an audience of around a hundred film makers, fledgling digital artists and a bunch of excitable school children with his insights about working on some of the biggest, most expensive films in the world, that the company, part owned by Peter Jackson, has undertaken.

He shows before, after and during shots and tells behind-the-scenes anecdotes – how 950 people worked on Avatar‘s effects, how they have ‘birthday’ shots, that is, pictures the company worked on for over a year and how software developed to recreate facial expressions on digital actors has functions called the ‘cheesy smile control’ and the ‘super cheesy smile control’.

And he casually calls director James Cameron, ‘Jim’. To some film goers, it may feel a little like finding out there is no Santa Claus. But mostly, listeners in Doha are enraptured. And after the hour-long presentation, a line forms for Aitken’s autograph.

“This never usually happens,” Aitken says, beaming and shaking hands with small children and ghutra headcloth-wearing Arab men alike.

Aitken is part of a small contingent of New Zealanders invited to Doha for the festival, which is partnered with the Tribeca Film Festival in New York, an event created by Robert de Niro, among others, to encourage culture back into the city after 9/11.

Scene from Taika Waiti's movie "Boy"

Director and actor Taika Waititi gets a similarly good reaction at the Middle Eastern premiere of his film Boy from an audience of around 300.

“It’s the first time I have seen a New Zealand film,” says Nuha Mustafa Hammad, a Palestinian living in Doha. “And the first time I have ever been to a film festival.”

She is enamoured of the experience: “I enjoyed it and yes, I did understand the jokes,” the petite, head scarf-clad woman says, when asked if the action from Waihau Bay might have been lost in translation.

“The accent was very difficult sometimes,” she explains. “But there were Arabic subtitles.”

Waititi’s film is not in the festival’s competition; this, running for the first time this year, is reserved for Arab films. But Boy is up for an audience award. If Doha audiences like the New Zealand-made film enough, it could win a cash prize of US$100,000 (NZ$134,000).

“I gave it four [out of five],” says Qatari local Nassir Al-Ansari, who had come to see the film – also his first New Zealand film – because he had gone out with a New Zealander previously.

“It had a lot of symbolism. I think the concept of the boy admiring his father, no matter how bad things get, is something that rings a bell with us all. I am really looking forward to seeing Mr Waititi’s next work.”

The director himself is a bit tired, having just flown here from Los Angeles and having had to deal with the fact that the airline lost his luggage.

But during an enthusiastic question and answer session after the film he doesn’t show it, demonstrating plenty of good humour.

“The film did change from what I originally wrote,” Waititi answers curious audience members. “It was more of a heavy film before, more in keeping with what New Zealand films are normally like. If it had stayed that way then probably one of the kids would have died. So it’s a bit lighter now. Then again,” he notes, “if someone had died, we probably would have gone to Cannes.”

His jokes even seem to translate into Arabic – after each answer, a translator patiently re-tells them to the crowd. Everybody laughs.

“I have never been to this part of the world and it just seemed like such a cool opportunity,” says Waititi, who is currently working on several projects of his own and who will be seen in a major supporting role in the upcoming action film, Green Lantern, in the middle of next year.

He has a busy schedule in Doha, with stints on a panel and participation in a TEDx meeting (a conference that brings together people from technology, entertainment and design) along with Aitken as well as interviews with Arabic and European press lined up over the next few days.

“When you’re in a new country, you never know what people will think but this was a good reaction, pretty standard,” Waititi notes, before he is chauffeured back to his hotel.

“As long as the stuff translates. The themes are pretty universal.”

Aitken feels that the way in which the New Zealand film makers have been welcomed in Doha, a small country whose rulers, the Al-Thani family, see culture and education as the way to make their oil-rich country’s mark on the world, is a sign that world-beating creativity can develop in geographic isolation.

“There are parallels with Doha,” he told the crowd. “And you need two things to make it work: talent and great projects. The great projects will attract more talent. People came from all over the world to work with us on these films. Then you get into this great upward spiral where things build in a very positive fashion,” Aitken concluded.

Asked afterwards what he thought about the whole The Hobbit-Warner Bros affair, which had been the subject of such heated debate back home while he had been in Doha, Aitken said he couldn’t really comment.

That’s despite the fact that the big movies which have come before The Hobbit are part of the reason why New Zealand film makers are increasingly well regarded by the international industry.

“We’re just thrilled that it’s been green lit,” Aitken concluded sagely. “And I hope to be working on it in the future.”

For the full listing of this story please follow this link: NZ Herald

The Hobbit dispute could mean other big budget films such The Lord of the Rings trilogy are no longer made in NZ, says a NZ actor and filmmaker.

Actor and filmmaker Luke Hawker says an industrial dispute that threatens to derail the production could hobble the entire New Zealand film industry.

“If Peter Jackson can’t get films done then what hope do I have?,” Mr Hawker said.

“The thing about New Zealand is we are such a small industry that we do a lot of things that aren’t standard. We work together to make films. That’s how we survive.

“A lot of actors are feeling misrepresented by a union that is putting our industry in jeopardy.”

NZ Actors’ Equity, with the support of Australia’s Media Entertainment Arts Alliance, advised its members not to accept work on The Hobbit until filmmakers entered into union-negotiated agreements with New Zealand actors.

Mr Harker has worked on big budget films such as Lord of the Rings and Avatar and made his own independent films.

Different pay rates for different levels of production is just part of being in the film industry, he says.

“There are a lot of insecurities to deal with as an actor. There is feast or famine.

“If you want a job that’s secure, become an accountant, become a lawyer. I didn’t get into films to make money. I got into it because I wanted to make movies. I started on $12 an hour. If you come into this business to make money you’re in the wrong business.”

NZ Actors’ Equity Union demands to standardise pay rates could cripple dozens of New Zealand films, he says.

“I made a low budget film and I couldn’t pay anyone. If that was a unionised production I couldn’t have made it.”

Electronics Model Maker Martin Jago was at an emotional meeting that ended with film technicians picketing outside a planned NZ Actors’ Equity meeting.

Some of the businesses he works with will have to close down if The Hobbitis shifted offshore, he says.

But he is convinced the damage done to the reputation of the New Zealand film industry is the greater concern.

“It’s not just about The Hobbit. It’s about the next five to 10 years. How are we going to attract another large budget film to New Zealand? If you have $500 million to invest, why would you take it somewhere unstable? The long range repercussions are quiet vast.

“People here love their jobs. They’re working for a lot less than they would get elsewhere. They’re going to have to look at either changing industry or try to get work in another country.”

He emigrated from England to make films in New Zealand.

That decision would not have come easily after the events of this week, he says.

“I came to New Zealand to be part of the film industry. New Zealand would not have been as attractive a place for me to come to as of yesterday.”

Story compiled by Hayden Donnell for the full story please follow this link:  NZ Herald

For related stories please folow these links:

Producers and union statements

Attempts to save Hobbitt films

Written and directed by Tamasese, The Orator (O Le Tulafale) will be a first inasmuch as it will be entirely shot in Samoa, in the Samoan language, with a Samoan cast and story. The first day of principal photography will be 27 October.

Making the announcement, NZFC CEO Graeme Mason said, “The themes in The Orator are universal – love, courage, personal adversity and honour. New Zealand has an extremely strong connection with Samoa and we are excited to be involved in the production of this film and the discovery of Samoan tradition and values by the New Zealand theatrical audience.”

Produced by Catherine Fitzgerald (Rain of the Children, Event 16, Two Cars One Night) with Associate Producers Maiava Nathaniel Lees and Michael Eldred, The Orator is the story of Saili, a small man with a big heart, who must find the strength to speak up for those that he loves.

The film will star newcomers Fiaula Sanote as Saili, and Tausili Pushparaj as his wife Vaaiga. It will be shot by acclaimed NZ cinematographer Leon Narbey (No 2, Dean Spanley, Whale Rider).

Samoa’s Deputy Prime Minister, Hon Misa Tellefoni said today, “The film will bring the finest aspects of traditions of our Samoan culture into the international spotlight. It is a beautiful and poignant love story that will provide a moving tribute to the magnificent splendour of Samoa and our Samoan people.”

The Orator has been financed by the New Zealand Film Commission. It will be distributed in New Zealand, Australia and the Pacific by Transmission Films, who most recently released BOY. NZ Film, the sales arm of the NZFC, is handling world sales of the film.

The collection celebrates the incredibly diverse output of the government body, that, for nearly 50 years filmed everything from wartime newsreels and tourism promos to historical TV epics.

It bred NZ’s first Oscar nominations, pioneering female directors, political controversy, and was a key industry training ground. Screen alumni include Sam Neill, John Laing, Sam Pillsbury, Selwyn Toogood, and many more; and arts icons such as Brian Brake, Douglas Lilburn, James K Baxter, Maurice Shadbolt, and Denis Glover were all involved in NFU films …

The 30 films in the collection provide a sampler pack of NFU classics: from Rhythm and Movement to Ralph Hotere; from Snows of Aorangi to Score; from Gone Up North for a While to Games 74; from The Governor to This is New Zealand, and many more …

In a written background essay, screen historian Roger Horrocks offers a highlights history of the outfit mooted to capture “the Vitamin D of nationality”. And NFU alumni Paul Maunder, Lynton Diggle and Sam Pillsbury provide personal reflections on their time at the unit.

Pillsbury: “People slag off at Government Departments. But like many bureaucracies, the NFU was also a hidden gem … It was a sort of hideout for slackers and innovators …”

There is also a filmed ScreenTalk interview with Sam Neill: before finding fame as an actor Neill was a 20-something director at the NFU, making documentaries on Ian Athfield, Red Mole theatre troupe, windsurfing across Cook Strait, and 70s freestyle skiing:

“It was never stated but you made one for them … the Post Office, Railways or banana company … and you made one for yourself, and I wanted to make a skiing film [Flare] …”

The selection is an unique online showcase of an important part of Aotearoa screen history. Stalwart NFU cameraman Lynton Diggle:

“The National Film Unit played an important role in forging an indigenous film industry, and I congratulate NZ On Screen for their foresight in breathing life back into those early productions.”

There are over 50 NFU titles on NZ On Screen — from Hillary Returns to Legend of the Wanganui River to A Dolphin’s Story — with more regularly added. Their presence on NZ On Screen is made possible with the support of Archives New Zealand, the stewards of the NFU archive

To watch and enjoy this wonderful collection of nz screen culture folow this link :

National Film Unit Collection

The three executive producer groups are:

A Collective Intake of Breath Michael Bennett, Maile Daugherty

Tauihu Shorts Tui Ruwhiu, Poata Eruera, Bradford Haami

Tom Thumb Shorts Steven O’Meagher, Chris Dudman, Polly Fryer

Their guidelines and call for entries follow.

You can also download them from our website:

http://www.nzfilm.co.nz/Premiere-Shorts

PREMIERE SHORTS 2010/2011

All short films funded by NZ Film Commission must contain significant New Zealand content.

In the 2010/2011 financial year, Premiere Shorts will support 6 short films at a budget of $90,000 per film.

Each film will be required to deliver on HDCAM SR (but 35mm ready). All other film delivery items including a film grade, dolby sound mix and license will still be required as part of the HD Cam delivery. If a Premiere Short is invited to an eligible A-list festival (see the NZ Film Commission short film post production guidelines for a list of qualifying festivals) it may also qualify for completion funds of up to $15,000 to finish the film to 35mm – depending on the formats required by the festival. Please email Premiere Shorts Assistant – Lizzie Dunn (lizzie@nzfilm.co.nz) if you have any questions regarding completion funds.

A Colective Intake of Breath Call for Applications – When we saw the first moving pictures, the Lumiere Brothers’ footage of a train leaving a French station… When a small Maori girl stood in tears on a school stage… When a human eyeball was sliced open in Luis Buniel’s extreme close-up… When De Niro stared straight at us asking, “You looking at me?”… When we watched Meg Ryan orgasming in the middle of a busy New York diner… There was a collective intake of breath.

The experience of cinema is a very human experience. It’s visceral. It’s emotional. It’s physical. It’s a group of strangers in a dark room having the exact same reaction at the exact same moment to the 60 ft high celluloid images projected in front of them. It’s a sob. It’s a laugh. It’s a gasp. It’s – A Collective Intake of Breath.

* * * * * * * * * * * *

There’s a million ways to watch stories. Now, more than ever, there has to be a bloody good reason to go to the trouble of going to the cinema. A Collective Intake of Breath has a simple philosophy. Cinema is about the sob, the gasp, the laugh, the cry. We challenge filmmakers to make short films that give the audience the profound experiences only cinema can provide. We have one criterion for the films we will fund. “Stylish” isn’t enough. “Wellexecuted” isn’t enough. “Beautiful” isn’t enough. In a year’s time we want to sit in a dark cinema, we want to watch the films we’ve developed and funded, and we want to experience that collective intake of breath.

Our approach as Executive Producers is also dead simple, and born of our name. Cinema is a collective experience, in the watching and in the making. We will seek projects that live up to our philosophy, we will work with groups that show they can

deliver the goods, we will support them at every stage of the process, and we will challenge the teams to deliver the cinematic experience the audience deserves. A Collective Intake of Breath will support films where the story and the directorial vision combine to create uniquely cinematic experiences, made by filmmakers with a clear vision of their career paths towards feature films. We are especially receptive to filmmakers who demonstrate to us a clear relationship between their proposed short film and their strategy towards feature filmmaking.

The Process

Our process is about development and relationship building. We’re not interested in opening the PO Box on October 29th and finding a pile of projects we’ve never heard about, from people we’ve never spoken to. We want to interface with the filmmaking community, build relationships, identify talent and start the process of developing projects well before application time.

At the Roadshow, the new short film scheme of Fresh Shorts and the Premiere Shorts fund will be introduced. After this, savvy filmmakers must realistically set their sights on the fund which is right for them. With the emphasis on “realistically”. If you’re at the right point in your filmmaking career to apply for Premiere Shorts then start talking to us. Our process looks like this …

[1] Initial Meetings

In the last week of August we will hold meetings over a couple of days, in person in Auckland, or via Skype, with individuals or groups intending to apply to us. Bookings must be made via our website www.acollectiveintakeofbreath.co.nz

We want to meet Writers with great stories. We want to meet Producers at the right experience level and with a thought-out path towards feature filmmaking. We want to meet eligible Directors with a proven track record, and with a committed and demonstrable strategy towards a feature film career.

This first meeting is about starting the development process that will lead to your best possible application. Part of this process will be identifying if you’re knocking on the right door. If it’s clear from this meeting that you should be turning your energy and talent towards applying to Fresh Shorts – then we’ll make that known to you. We don’t want to read scripts at this stage. We’d love to hear pitches. Keep it short. Keep it about story. A two-minute pitch is probably one minute too long.

After these initial meetings, we’ll assemble a list of existing teams, and a list of unattached Writers, Directors and Producers. You might call this the (very) long shortlist. From this we will initiate a Collective Intake of Breath Facebook page, to help you guys find each other and to build teams.

[2] Project and Team Development

For the next month you’ll be beavering away, talking to each other, Directors and Producers reading Writers’ work, brainstorming, finding your ‘tribe’.

By the end of September there will be another round of meetings in Auckland or via Skype – bookings via the website. We’ll be interested in where you’re going with your team-building, where your projects are at and where your application is headed.

Again, no scripts yet please. But if you’re feeling feedback would be useful, pitch us.

Read this!!!

We won’t accept cold-call projects for final submissions. If you wish to apply to A Collective Intake of Breath, you must meet us in at least one of the two rounds of meetings. Our process is about development and clear-headed career strategy, not throwing together an application in the last moments before deadline. And please note, additional meetings will not be scheduled outside of these dates.

Also, we’re very happy to meet with unattached individuals in the first round of meetings, and we hope teams will be formed by the second round. But for final submission we will only accept applications from full teams – ie Writer, Producer and Director.

[3] Submission

After the second round of meetings you’ve got another month to get your application ready.

The deadline is 5pm Friday October 29th 2010

The application must only include –

? Application cover sheet with name of project, team members, contact details

? Full script, industry format – no synopsis, no character pages, just the script

? CVs for Writer, Director and Producer (max. 1 page each)

? Supporting examples of the Director’s previous work (DVD only)

? Director’s Treatment (max. 2 pages)

? Confirmation that the Producer holds copyright for the screenplay, any

copyright material the screenplay is based on, and any copyright material

identified within the screenplay (music, footage, poetry, et cetera)

[4] Shortlist

At the end of November a shortlist of 5-7 projects will be announced. Congratulations!

Now the real work begins with making the script as good as it can be, refining the directorial vision, attaching key personnel, a budget and production plan. The strata-system of Premiere Shorts and Fresh Shorts is a new approach to short film financing, and the development and selection process of A Collective Intake of Breath Ltd is a new approach to project and team selection. The emphasis of the Premiere

Short Fund is to foster talent that has a clear vision of their path into feature films. Our emphasis on development and relationship building is informed by the real-world process of feature film development – and is aimed to give your project and your team the very best chance of making the short film that will launch you down your path towards feature filmmaking.

[5] Contact details

Website: www.acollectiveintakeofbreath.co.nz

Skype: a.collective.intake.of.breath

Postal address for submissions: PO Box 78088

Grey Lynn

Auckland 1245

TAUIHU SHORTS

Call for Applications for PREMIERE SHORTS –

NZ FILM COMMISSION 2010/2011

TAUIHU SHORTS is a team consisting of producer Tui Ruwhiu, writer/director Poata Eruera and writer/producer Bradford Haami.

TAUIHU SHORTS will executive produce two short films in 2011 with a budget of $90k each. While we are all Maori we want stories and applicants from any cultural background. We are looking for experienced auteurs (writers/directors) with the talent, ability and vision to tell powerful New Zealand stories in a distinctively original way that will push the boundaries of cinematic storytelling. You will already have a body of work that showcases your talents.

We welcome new approaches, new technologies and new ways of telling stories. Anyone with the passion, the clarity of vision, and the absolute commitment to craft a unique idea into an award-winning short film should submit their script for consideration. If this is you then TAUIHU SHORTS will support you every step of the way to help realise your vision.

The deadline for applications is 29 October, 2010. At this point you will need to submit

the following:

? 3 unbound copies of the script

? CV’s for key personnel

? director’s notes

? visual material which demonstrates the director’s experience on a single DVD to

support your application.

? a completed TAUIHU SHORTS Application Form. (Available for download from

www.tauihumedia.com/tauihu-shorts)

Up to twelve applicants will be selected for discussions with the executive producers. On 3 December 2010 a short list of six projects will be asked to submit a budget, director’s and producer’s notes and a production methodology by 14 January 2011.

TAUIHU SHORTS www.tauihumedia.com/tauihu-shorts

In February 2011 two submissions will be announced to receive production funding.

Criteria

We are calling for:

? screenplays from talented, experienced auteurs (writers/directors) who have

already made at least one well-received short film or who have a quality showreel

of drama, documentaries, TVCs or self-funded projects.

? screenplays of any genre that exhibit strong, original and recognisable New

Zealand themes.

? applicants with a burning passion for their short film project and the ambition,

commitment and plan to pursue a career in feature film.

? fresh, artistic ideas and approaches.

? an experienced core team (writer/director and producer) attached to the

submission. However applications from a writer/director only will also be

accepted and matched with a producer if the project makes the shortlist.

Requirements

We require:

? Three unbound, well developed screenplays in industry standard format with

title page including contact details. (Do NOT include the names of the applicant

or the team in the header or footer of the screenplay.)

? A completed TAUIHU SHORTS Application Form. (Available for download from

www.tauihumedia.com/tauihu-shorts)

? CVs for key personnel (writer/director, producer).

? Director’s notes

? Visual material which demonstrates the director’s experience on a single DVD to

support your application.

Notes

? Screenplay duration no longer than 15 minutes.

? A maximum of two separate applications per individual/team.

? All projects to comply with NZ Film Commission Act Section 18 – Significant NZ Content.

Submissions

Please send your applications to Tauihu Media Ltd, TAUIHU SHORTS, P.O. Box

104174, Lincoln Nth 0650, Waitakere.

Deadline for receipt is NO LATER than 5PM 29 October, 2010. Late applications will NOT be considered.

Please include a self-addressed, postage-paid envelope or courier pack if you require your submission materials returned.

TAUIHU SHORTS www.tauihumedia.com/tauihu-shorts

The application form is available for download from our website:

www.tauihumedia.com/tauihu-shorts

Checklist:

? One completed Application Form.

? 3 unbound copies of the screenplay in industry standard format with

title page including contact details. (Do NOT include the names of the

applicant or the team in the header or footer of the screenplay.)

? Screenplay duration no longer than 15 minutes.

? Applicant and team CVs

? Visual material which demonstrates the director’s experience on a

single DVD to support your application.

? A maximum of two separate applications per individual/team.

? Post all applications to Tauihu Media Ltd, TAUIHU SHORTS, P.O. Box

104174, Lincoln Nth 0650, Waitakere. Deadline for receipt NO LATER

than5PM 29 October 2010. Late applications will NOT be accepted.

? If you require your submission materials returned, please provide a

self-addressed, postage-paid envelope or courier pack.

TAUIHU SHORTS www.tauihumedia.com/tauihu-shorts

Tom Thumb Shorts is collaboration between Steven O’Meagher, Chris Dudman and Polly Fryer. We three share a similar ambition to make films of quality, talent and imagination – critical characteristics for making short films where money must be used very resourcefully… without sacrificing creativity. Tom Thumb Shorts is a mutually beneficial collaboration for the filmmakers we select… for us… and most importantly, for audiences.

Tom Thumb, a “small but perfectly formed” fairytale character, a little guy with a big personality and a great sense of adventure, he represents the kind of short films we aspire to make. Films that make their presence felt despite their limited stature. Films that are immersive, memorable, thought provoking and leave people wanting more.

Most importantly we want our short films to be CHARACTER DRIVEN and EMOTIONALLY ENGAGING. We are interested in drama, in any style or genre, with clear protagonists and antagonists driving the narrative. And in stories that connect with audiences on a visceral and/or emotional level.

TOM THUMB FILMS …

? have something to say

? are there to be seen and noticed… as dynamic and explosive as the tiny

firecracker.

? are original and deserving of the big screen (no homages please)

? are character-driven stories, with a memorable and distinctive cast.

? belong to any dramatic genre be it a comedy, western, horror, science fiction

or based on true life (it’s the story that’s key)

? are visually and stylistically executed to the demands of the story telling

(there’s no ‘art for art sake’)

? make audiences feel something; they amuse, thrill, infuriate, scare, or

sadden… we want to feel like there’s a human being behind the story being

told

? know who their audiences are and respect their intelligence

? they are doable… they show an understanding of budget constraints and

respect the limited duration of the short film genre

WHO WOULD MAKE A TOM THUMB SHORT FILM?

‘You have to love something enough to be able to take risks, jump over the hurdles and break through the brick walls that are always going to be placed in front of you. If you don’t have that kind of feeling for what it is you are doing, you will stop at the first giant hurdle’. – George Lucas Tom Thumb Shorts will be talent led. Our filmmakers can come from any region of the country, be of any socio-economic background, from any ethnicity, political persuasion or cultural group. If you’ve got a “small but perfectly formed” idea for the big screen then we want to help you realise this dream.

We’re looking for filmmakers who share our passion for telling stories on the big screen, who are interested in knowing and finding an audience for their films. Filmmakers who CARE about something and have something to say. We’re looking for creative people (and / or teams) who can identify their unique voice, idea and who aspire to excellence.

We expect teams to have some level of industry experience; this is not a scheme for inexperienced or first time filmmakers. We want to help build Writer – Director – Producer teams into successful creative collaborations that have the potential to work together on feature projects. We prefer teams (filmmaking is a team sport) but are open to Writers submitting scripts without Producers or Directors attached.

Directors will need to show evidence of their talent and understanding of narrative film; examples include commercials, music videos, short films, TV drama and theatre. We welcome first time and experienced Writers. We require Producers to have a body of production experience and be committed to developing these skills towards a feature film career.

WHAT WILL WE DO FOR YOU?

Steven, Chris and Polly are committed to this process of identifying great films to make, therefore we promise to:

? Read each and every script in the first instance without knowing who are

the team behind it. We want to have clear emotional reactions to stories

without being clouded by personalities.

? Provide some notes and suggestions for script development for all teams

that we meet at the shortlist stage.

? Be open-minded and ready to be inspired!

DETAIL

? Up to two submissions per individual

? Films must be a maximum of 15 minutes in length

? Films will have to be delivered on HDCAM SR but be 35mm print ready

SUBMISSIONS

Call for submissions from Monday 9th August 2010

Deadline for all submissions is Friday 29th October 2010

The shortlist will be announced before the 25th December 2010

To be considered please submit THREE unbound hard copies of:

? A completed application form (downloadable from

www.tomthumbshorts.co.nz)

? A covering letter introducing your team and project

? A well developed and formatted script (with title page and contact details)

? CVs for key personnel (Writer, Director and Producer)

? Director’s vision – a short statement or images that give us an idea of your

thinking

? One example of the Director’s work. Not a showreel but something that

demonstrates your ability to realise this story.

Please send all material to: Tom Thumb Shorts, PO Box 78/272 Grey Lynn,

Auckland

QUERIES

Please look at FAQs at www.tomthumbshorts.co.nz or email Polly on

production@tomthumbshorts.co.nz.