SPRING 2020 | ISSUE 86

The Screen Industry Guild Aotearoa New Zealand quarterly

On set with Savage Farewell Keri Kaa and Bill Black And, the Film Commission write in

www.screenguild.co.nz PRACTISING Safe Sets EDITORIAL CONTENTS With CLEAR PROTECT GUILD NEWS & VIEWS Hi all, 2 Behind the scenes Kelly Lucas. And welcome to another packed issue of your 4 President’s rave favourite quarterly magazine. Brendon Durey.

It’s been a lot of fun getting this one together, INDUSTRY especially reading the regional wraps as they come 6 Savage in, and realising that the entire Aotearoa industry is James L Brown acs. humming right now. 24 Regional wrap

With our beautiful country still one of the very few TECHOSPHERE that can safely host and major location or studio 14 September – October 2020 Snapshot based shoot, and with the situation in North America 16 In Memorium: Farewell William Arthur (Bill) Black mbe. and Europe looking dire for many more months to 20 In Memorium: Farewell Keri Ngapera Kaa – cnzm, qso. come, I guess we can continue to look forward to an 27 Newbie: Meet Alana Henderson. influx of major international shoots relocating here. And as long as we can bring the crews and their equipment in safely and without disadvantaging more essential industries, then we should celebrate that. The Safe Sets protocol is a CLEAR PROTECT program The downside however, is that smaller local jobs for managing COVID-19 risk in might find themselves having to join the queue for production facilities and includes crew or studio space. But we can also take this as a combination of services, an opportunity to train more locals, to require the Cover photo: Danny (Jake Ryan) product supply and training. international jobs to commit to taking on interns in a scene from the film ‘Savage’ - and passing on meaningful training to them. DOP James L Brown acs

Getting the balance between income and allocation The CLEAR PROTECT Safe Sets Program: of resources right will always be as much an art as a ISSUE 86 SPRING 2020 science, and there will always be disagreement over Editor Advertising Graeme Tuckett Advertising queries, please contact what ‘best practice’ looks like. But at least we can Publisher/advertising Kelly Lucas on 09 8899522 (always dial 09), Kelly Lucas [email protected]. For a copy of our ad Using products that have been tested 99.99% effective against COVID-19, the program maybe all agree that the problems created by too Design specs and rate card, please visit our website. provides complete protection for production crews and facilities, covering film sets and much work are preferable to the problems of not Jason Bowden / Anim8a Ltd. All contents are copyright Screen Industry Guild stages, trailers, porta cabins and transport, wardrobe and costume, makeup, construction having enough work onshore to go around. Printing Aotearoa New Zealand Inc. 2017, unless indicated areas, equipment, offices, catering, kitchen, laundry and bathroom facilities. TP Printing Services Ltd. otherwise. May not be reproduced, copied or Contributors transmitted in any form without permission. In this issue you’ll find obituaries to two brilliant Graeme Tuckett The views expressed in this publication do not New Zealanders, who both, in such very different James L Brown acs necessarily reflect the views of the Screen Monthly antimicrobial protection fogging services Kate Larkindale Industry Guild Aotearoa New Zealand Inc. ways, contributed more than most to this country delivered by Clear Facilities team of industry experts and this industry. As well as a new column from the offices of the Film Commission. We are also happy Supply of CLEAR PROTECT products that have been www.screenguild.co.nz to publish a look behind the scenes of the Savage tested 99.99% effective against COVID-19 shoot, from DOP James Brown. GOLD STARS & CHOCOLATE FISH Training of your staff and production crew in use of There’s a lot here, but we welcome more. If you’ve products for self-treating high risk and sensitive areas ever wanted to see your name in print, try submitting N Brendon Durey and Sioux MacDonald for agreeing to be the a piece for our next issue. We are always on the President and VP again this year lookout for new contributors. N The rest of the exec/branch committees for putting their Love your work, hands up to support the guild for another year. GT. Antimicrobial Protection for Freephone: 0800 399 378 People, Facilities and Brands www.clearprotect.co.nz 2 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 3

We appreciate BEHIND THE SCENES With over 20 years in the film and TV industry, Kelly Lucas is now executive officer for the Techos’ Guild. the support of:

Executive Officer Kelly Lucas Mick Sinclair Heading into October, with an election around still on the executive committee but has stood the corner, production underway but still in the down from Auckland's chairperson and with reality of COVID on our doorsteps, 2020 has Christian Gower stepping in. Another thank- Ph +64 9 360-9995 www.sinclairblack.co.nz definitely shaped itself for the history books. you to Mareena King, the Auckland secretary, has moved to beautiful Nelson. Looking at the positives: crew are busy, the COVID health and safety plans are in place, and Over the past couple of weeks, ScreenSafe and The 8-Series the alert levels have enabled Auckland to get WorkSafe have hosted two workshops to look Next Generation at the next steps for ScreenSafe and what it can back to production, and the rest of the country Premium Portable With Dugan AutoMix and MixAssist is enjoying more freedom at alert level 1. become and evolve into over the coming years. Mixer-Recorders We will keep you updated as we work through We had our AGM last week, and a big thank Three models to suit your specific needs, all with 256GB SSD this plan and look to the future of supporting All built on the same architecture you to everyone who attended in Wellington, all of the screen sector, including health and 833 portable, compact, lightweight 888 use on a cart with Dante or over the shoulder Christchurch, and Queenstown and also to safety – physically and holistically. If you have Scorpio premium, PSNEurope Best of Show Award at IBC2019 those who managed to jump onto zoom calls any ideas you would like to share with us; for the Auckland session. To order, book a demo, or for more information-p: 09 366 1750; e: [email protected]; FB: @soundtechniques; www.soundtq.co.nz; please email them to [email protected] Intrigued? Check out https://www.sounddevices.com/products/ for the full range of mixers and recorders Lifeguard & Safety 181mm x 65mm.pdf 1 22/09/17 11:36 AM We warmly welcome the new members on our The Professional Respect Training workshops branch committees and to the executive. have been up and running again, and the feedback has been excellent. As a sector, we are Lifeguard & Safety have been working with Production Companies for I want to thank everyone who has agreed to over 20 years, on projects ranging from music videos & film school stand again and take the time to support the looking at making a culture shift to a healthy, C shoots, low budget television & features, up to major motion pictures. guild for another year. We welcome back and respectful work environment. We hosted one M We can help in the following areas; Safety supervisors, on set medics, hazard identification & mitigation, in Christchurch last week and are back in Y say thank you again to Brendon Durey, who WorkSafe NZ compliance, marine coordination, water safety, and divers CM is doing a fantastic job as President. To the Auckland on November 7th and Queenstown for underwater support. on Friday, December 11th – if you would like to MY If it’s the Health & Safety at Work Act 2015 causing you concern, we wonderful Sioux MacDonald, who is back as attend, email [email protected]. CY have been working with ScreenSafe, WorkSafe NZ & several legal Vice President. Their support and hard work CMY companies & consultants to find the best solutions for the Screen Sector. We are looking at other dates and will send out Contact us if you have any questions regarding your next project. behind the scenes for the guild and the industry K further information when they are confirmed. have been fantastic. Brendon has been creating Willy Heatley +64 27 451 6002 SPECIALIST FILM & TV SAFETY [email protected] • www.guard.co.nz sub-committees for tackle rate card reviews, We have great news about our membership has continuous hours guidelines, and doing a crew increased by 20% over the past year. It is lovely rep workshop, including looking at bullying to have more crew on board, so please drop me in our sector. Sioux has been on the Screen a line. I would love to hear from you. New Zealand’s largest supplier of grip equipment servicing the world’s entertainment industries Industry 2030 Strategy Group contributing For now, we are racing to the end of the year to the Screen Workers Bill and the Pan Sector • Full grip crew • Stabilised remote heads • 15’ - 75’ TechnoCrane’s • 4x4 All terrain crane bases and looking at the tail end of 2020. With COVID 19 Recovery Group. Thank you to Tyrone • Chapman - Leonard dollies • Panther dollies • Motion control • Helicopter mounts • Slider’s the global situation still at high risk and • Generators • Rigging • Car mounts • Blue/green/black screens • Multiple vehicle options Payne for agreeing to take on the Treasurer role New Zealand's COVID alert levels stabilising, again this year and support our fantastic Jane we will hopefully be looking at another busy Scott, who continues to do a sterling job on year for 2021. For now, take care; if you need our accounts. I would also like to say a massive any support, we are here for you. thank you to Ken Saville, who has given hours Ph: 09 818 1981 • Mb: 021 443 958 of support to the Wellington branch and has Ngā mihi nui, www.griphq.nz • [email protected] stood down this year. To Nick Treacy, who is Kelly. 4 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 5 PRACTISING PRESIDENT’S RAVE Safe Sets With CLEAR PROTECT Guild President Brendon Durey

Crazy Times of non-objections) processed to assist with Covid 19 is still dominating the news and not essential worker exemption applications through only affecting the mechanics of how we work in to numerous members (and non-members) all the stages of production but also the ability to inquiring about the LONO process, concerned reach offshore for additional crew to supplement that incoming offshore crew may be pushing out the NZ screen workforce. We had just over some NZ crew from positions. 100 days of no community transmission but I want to assure all members that the guild inevitably our streak ended. It appears that local take the issuing of LONO’s very seriously and productions have been adapting and taking the appreciate how protecting the screen jobs of NZ restrictions imposed by the various Covid levels crew in NZ is very important to all our members. in their stride. It also appears that the numerous The CLEAR PROTECT Safe Sets Program: larger offshore productions all kicking off during The Exec has formed a LONO review sub- August and September have all incorporated committee and are embarking on a review of the various levels of Covid precautions dictated LONO’s process before the AGM to double check Jane Brown, Global Brand Strategy Manager for Clear Facilities To find out how we can assist with by a mixture of their offshore funders and introduces NZTecho readers to the “Safe Sets” protocol your production or set requirements, the process we follow meets the expectations of developed for the New Zealand film industry. New Zealand specific measures. please contact: the Exec and the wider membership. During the COVID-19 pandemic, Clear Facilities has been involved in developing a Safe Sets protocol for some of New Demand for skilled crew Guild Subcommittees’ Zealand’s largest and most high profile international productions. JANE BROWN Due to the huge block in the ability to shoot Work on the Continuous Working Day blue book Jane explains “The Safe Sets protocol is a complete Global Brand Strategy Manager imposed by the initial lockdown period, the program for managing COVID-19 risk in production facilities CLEAR FACILITIES recommendations has progressed well and will and includes a combination of services, product supply relatively sequential chorus line of productions hopefully be tabled again to the membership for and training”. we had, has changed into a layer cake of mania, P. 021 274 1694 review again before the AGM. After the last review “Using products that have been tested 99.99% effective E. [email protected] all competing for equipment, studio space and several members gave valuable feedback and against COVID-19, the program provides complete protection of course talent and crew. Questions over the assisted the subcommittee to refine the document for production crews and facilities, covering film sets and stages, management of the border and pressure on the trailers, porta cabins and transport, wardrobe and costume, further. This is one of those topics which I know makeup, construction areas, equipment, offices, catering, Government from different quarters cramping is complicated as there are those who don’t kitchen, laundry and bathroom facilities”. the ability to allow essential offshore workers to like working continuous days no matter the The industry has never before faced the complexities unlock projects (Producers and Cast) has caused a circumstances, but it’s our view that productions of operating in a global pandemic. Ensuring production environments are as safe as possible for the hundreds of lot of problems. Not only for the screen industry are still going to do them and its better we have a but also in the infrastructure and construction staff, crew and contractors involved in the production is set of SIG recommendations of how it should be a completely new challenge. sectors along others. We all seem to be competing done to try mitigate some of the negative aspects. “Any delay in production can have a significant impact - for limited quarantine space with returning both financially and to production schedules – and the New Zealand’s and this has created a huge We are also forging on with getting together Safe Sets protocol provides productions with a amount of uncertainty and complications for the the Rate Card Guidelines, and have progressed preventative program for managing this risk” says Jane. screen industry. We have all heard the stories of through to getting an initial batch of departments Each production is unique and the Safe Sets program is productions recently leaving our shores due to an first drafts ready to go before a Producer review designed and customised for each individual production and location, working around filming schedules and other inability to bring in key essential crew. team for feedback. site specific requirements. This whole situation has created an environment Confidentiality and discretion are paramount and services We welcome any queries or feedback on these and are delivered by a friendly team of experts who understand where skilled crew are a valuable commodity. any of the other sub committees work that has the industry. All our team members have been background Offshore crew are expensive and difficult to been discussed during the year. checked and security cleared. obtain, and a lot of people are looking very In addition to the Safe Sets preventative program, critically at the training and crew development Lastly, I hope all members can make an effort to Clear Facilities offers an emergency response service process we have in NZ and whether it are suitable encourage friends and colleagues and co-workers for responding to active or probable COVID-19 cases. and fit for purpose. in the screen industry to join the Guild. We have a stronger position to advocate on behalf of all crew The Guild EO and key Exec members have been if we are more united. under a lot of pressure recently from productions who want large numbers of LONO’s (Letters Brendon Durey Antimicrobial Protection for Freephone: 0800 399 378 People, Facilities and Brands www.clearprotect.co.nz 6 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 7

IN FOCUS Savage James L Brown acs

With cinematographer than simply condemn it. When we James L Brown ACS behind see what these characters have gone the camera, and inspired through, we understand how and by the true stories of New why they ended up where they did Zealand’s gangs over thirty twenty years on. years, feature filmSavage Visually, the world appealed to me follows Danny (Jake Ryan) on many levels. Bringing life and at defining moments in his authenticity to a gritty subculture life as he grows from a boy across multiple decades was hugely into a violent enforcer of a challenging. I researched it as if it was a documentary, focusing street gang. on historical photographs and Left: Danny (Jake Ryan) in a scene from the film ‘Savage’ - DOP James L Brown acs Director Sam Kelly was in references that transported me into the process of interviewing the lives of these real people. and taking hundreds of photos, we stage. We had people involved who cinematographers when he saw My goal was to create the same also found a common cinematic had actually lived these stories and some of my work. We jumped on feeling for the audience; that language. We shared our ideas and their guidance on lighting, colour, Skype and hit it off. they were witnessing something started to settle on the best way to and staging rooted the film in the I was immediately drawn to his authentically real. tell the story. truth of history. passion and it was quickly obvious On an initial reading of a script, Kelly already had a well-developed We had days long conversations that we shared a common sensibility rather than getting caught up in ‘bible’ filled with imagery and around the best approach for each about film and, more importantly, what i think is right or wrong or references when I came on board. scene and then digging down into the world. When you connect on concentrating on the logistical Originally he was looking for every shot. Certain scenes called the basic moral principles behind a challenges, I try to focus purely the cinematography to be more for a long, single steadycam shot project, that’s a great way to start on story. I want to understand the heightened, with beautifully that takes the audience from one the journey. world and the writer’s and director’s choreographed and lyrical story point to another, and other Savage is about gang culture in New intention. Then on subsequent moments, whereas I thought the scenes wanted a raw and instinctive Zealand, set over three decades. readings I start to allow myself room story leant itself to a slightly rawer, handheld approach that would It explores the causes of systemic to think about how that intention can be realised. naturalistic approach. It was a great create room for performances and abuse of young men and the lasting starting point. influence how the camera reacts. effects that has on society. When In early pre-production, I flew to I first read the script, I loved that Wellington for a ten-day location On top of this, we were making What we landed in the end on was it tried to explore and understand scout with Kelly, the director, and as an historical story, so that also a compromise of these approaches New Zealand gang culture rather we drove around finding locations influenced our choices at every that gives the film its uniquely 8 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 9

Small parts of Wellington haven’t This is Danny’s story, depicting him changed much in the last forty years from boyhood to his thirties as he so it was the perfect place to shoot is pushed and pulled between his period without huge resources. We biological family and his new family, had input from current and former the savages. So the point-of-view gang members on the spaces they of the camera became one of the spent time in and again would refer most important aspects to bringing back to the historical images to Danny to life. source authentic locations. We elected to shoot most of Danny’s Obviously wardrobe and hair is also singles on a 35mm lens across key here, and we relied heavily on the board for consistency, usually the brilliance of costume designer handheld or on Steadicam so Bob Buck, makeup designer Stefan that we could follow him and stay Knight along with production connected. But we shifted the height designer Chris Elliot and his team. subtly across the story to create different sensibilities In chapter For camera, we decided early one, we played just above his eye line, on to maintain a consistency to which showed his vulnerabilities the cinematography and grade and as the story progressed, we throughout the eras, with only subtle lowered the camera under his eye shifts in the lighting colour scheme line and embraces the ended as a to subconsciously telegraph the Above: Actors James Matamua and large and imposing character he was. stylised yet authentic aesthetic. into a space that doesn’t call for differences in time. I didn’t want to Jack Parker in a scene from the it. That’s when everyone needs to film ‘Savage’ - DOP James L Brown acs Whenever I got too caught up process and force a vintage look as Ninety-five percent of my work breathe, step back and be malleable. in filmmaking problems like you find in some television shows. over the last five years has been Stubbornness is my worst enemy on This would have felt contrived on an ARRI Alexa and I didn’t see schedules, budgets, crewing or Below: Actor Jake Ryan films a scene, a drama. gear, I would return to the work of and outside of the reality we were the need to journey from that. For Dana Little on Steadicam while key grip attempting to capture. lenses, the choice to shoot spherical Paul Murphy spots- PHOTO Chris Moss photographers like Nan Goldin, Given the nature of the story, we Tish Murtha and Bruce Davidson. also spent much time considering Connecting with imagery and the how we would visually portray gang emotions they inspired would culture without sensationalising remind me about what’s really or exploiting it. Anyone with a important. The truth of the image camera probably understands on or getting the feeling of a scene some level the inherent power of the right, rather than obsessing over captured image, and it’s a balancing logistics or gear. act to create epic images that don’t trivialise or romanticise genuine On a practical level, I shared these societal problems. lighting and art references with heads of department as its usually We were very aware of this the most efficient way to express responsibility every day on set and what you are thinking and for we worked hard to stay focused everyone to get on the same page. on the story; of boys who lose Some days you can exercise control everything and find a new family to that gets you to the right place. Other protect them. days you need to let go and let the My love for storytelling is rooted in location or cast guide how the scene a need to tell stories that matter. I should be captured. Usually when I am inherently drawn to projects that ‘light myself into a hole’ it is because merge the political and the cultural, I am forcing a pre-conceived idea and Savage does exactly that. 10 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 11

then create a camera blocking for Richie Elworthy and Nicki Winer every scene in Shot Designer. It’s were my A-camera first and second a rudimentary program but when assistants camera, respectively. Both you’re designing plots for hundreds hugely talented humans and who of scenes, the simplicity means it’s managed the camera the department efficient. For complex scenes, nights like a well-oiled machine. and interiors, I designed lighting I like to work super fast and change plots in Illustrator. my mind about shots midtake By the end of pre-production, I had sometimes. Having a focus puller a miniature bible for every shoot that can be malleable and roll with day that was about four to six pages the punches is imperative and long with notes, lighting references, Elworthy was always on point. His camera and lighting plots and the intuition is one of those things that shot list which my crew and all the can’t really be taught and he’s as heads of departments would have good as they get. access to. This was imperative with My key and dolly grip Paul Murphy such a tight schedule and it helped was a great part of the team. He’s a the entire crew understand what storyteller at heart so his intuition Kelly and I had been conjuring up. about camera movement and Then on set I would always carry placement was a great support. I’ve Above: Lily (Italiyah Wilson) and Red was not one taken lightly. We spent We did camera tests that pushed an iPad so I could access my own always heard that New Zealand (Poroaki McDonald) in a scene from the a lot of time with location imagery the Alexa into a territory where thinking and remind us what type of crews are not only exceptional film ‘Savage’ - DOP James L Brown acs and watching films we liked and it almost fell apart. By creating a genius we had thought up at 2am in technicians but also some of the spherical felt like it connected look-up table with Park Road Post in the production office. most generous and collaborative our characters to the locations Wellington that would underexpose Creatively, I believe consuming all people in the world… and this crew over anamorphic. the sensor and then push up the the research imagery up front really exemplified that. on set monitoring as to bring out I flew to Auckland and tested plenty helped me understand and settle Eighty-five percent of Savage was some of the texture in the digital. of Panavision glass looking for a on an aesthetic so I could focus on shot on locations in and around Ultimately the false colour was combination of grittiness, speed story rather than spending all my Wellington. We built two sets for usually purple and I failed basic energy every day on visuals. This and light-weight. Paul Lake really the boys home in chapter one, cinematography-101 every day. But full-on level of planning allowed us went out of his way to find the right but only because we couldn’t find we wanted to bake a look into the a lot more freedom as we went. As glass and we ultimately settled on the perfect locations that were era rushes on set and leave less room for problems arose, we found solutions Panavision Ultra Speeds. They’re specific. I love real locations, they someone to take over later. faster because we knew what we were super fast with medium contrast have restrictions that make you trying to achieve and if it meant and, they’re lightweight. I love pre-production. Sometimes. problem-solve in a way that can lead Finding the language of a film getting to that place in a different to something genuinely truthful. A Rounding out the kit was a couple with the director is one of the most way, then so be it. window in the wrong place, a low of Super Speeds, including a 55mm interesting parts of the process I’ve only done a couple of jobs in ceiling, or a dodgy green oven light 1.1 which we used on select portrait and then watching your dreams be New Zealand and it was so busy over in the background can restrictions moments. It’s one of my favourite crushed by the reality of a budget there with a heap of Hollywood that guide your hand. All these spherical lenses and needed to be and schedule is one of the most productions going on that were were things create ambience and soul that reserved for a moment when we painful. I try to pre-produce as much fortunate to secure the incredible is impossible to replicate in a studio wanted to isolate a character or find as I can. talent we ended up with. My on a tight budget. a bit of magic. Kelly and I planned the blocking, Steadicam and B-camera operator, For the sets, production designer Using glass from the 1970s and early lighting and moves on every Dana Little, was a real gift. I trusted Chris Elliot and the art team did 1980s also really helped bed in the location as much as possible, whilst his eye; he always had my back and an incredible job pulling off a set period aesthetic and mitigated some also allowing room for invention he has the demeanour of a Saint that accommodated numerous long of the modernity of the Alexa. and happy accidents. I would which helps to set a tone. Steadicam shots with practicals built 12 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 13

into the design. Full with texture and of S60 sky panels and again that completely encapsulated RGB Lightmatt 44’s for the the era and the story. controlled lighting. For lighting, Kelly and I talked a For interiors, Hebron used custom lot about playing with shadows. RGB, DMX-controlled light matts Danny’s story is pretty dark but and they became my go-to lamps. We we tried, where we could, to find had the colour at about 10,000k with little moments of hope where a touch of green and usually rigged he connected with other people. into the roof for freedom. For room In these moments, we made the tone, we inserted Phillips hue lights lighting richer and more saturated, into the practicals at every location added a bit of fill and made the which gave us incredible freedom to space feel safer. tweak the interior colour and level Left: Danny (Jake Ryan) in a scene from of the space. The result was a slightly I’m incredibly indebted to gaffer ‘Savage’ - DOP James L Brown acs muddy amber green feel to the Adrian Hebron and the lighting practical lights, which was perfect department who all did an awesome world and that support allows you to of Danny and the camera is for this story. job on the film. There was a heap be even more gutsy in your approach. intuitively communicating the of lighting to do on almost every I’m excited to see where lighting Once the edit was locked, I spent a emotion of the scene as it evolves. setup and they worked so hard with is heading in the next few years. week grading Savage in Wellington. The director just let me go for it limited resources and time. The Wireless, lightweight solutions have Burlinson is a skilful colourist and instinctively as the performance night exteriors were challenging transformed the way we work, and has a great sensibility for the story evolved. It was one of the simplest as we needed to shoot 360-degrees putting the camera and lighting we were all trying to tell. There was scenes in the film and one of the with long Steadicam shots. Thanks crew on headsets has also improved a pretty engrained look so we didn’t most effective. to Wellington’s wild winds, I the energy. Everything is a lot calmer redraw or question our original couldn’t fly overhead soft boxes and respectful to the actors and Of course knowing what I know now, approach to the colouring. In the so we often needed to build in you don’t have a bunch of big egos I may do things differently because end the focus was more in matching industrial practicals to cover the running around on set competing thats the nature of filmmaking and the two cameras and the crazy scene. These were often mixed to be heard. On a film like Savage cinematography. With a different Wellington weather going from full colour temperatures and dimmed at where a scene might include lead up we might have shot on different levels to deliberately give untrained actors, a large number sun to rain to sun within the scenes. 16mm pushed two stops, or even the sense of the lighting not feeling of extras, as well as actual gang To give the images some grunge, an iPhone! All you have are your too crafted. members, the last thing you need is especially day scenes, we tested a instincts in the moment about what more big personalities yelling across variation of Park Road Post’s own The gang’s pad night time exteriors the story demands. We worked hard the room. process of using the Sapphire plugin in chapter three was our most to make the best decisions for the During pre-production, we created on SGO’s Mistika suite. This is a difficult location. It was extreme story and, right or wrong, I don’t weather right on the coast and the look-up tables with our colourist, plugin that reacts to the RGB layers think you can regret that. action happens over an enormous Claire Burlinson, at Park Road Post. that was closer to the way a film space. Winds coming through Then on set, we under-exposed the stock would react. In the end it’s the vision of Sam each night would shut down most log by between one to two stops, Kelly and producer Vicky Pope. There is a scene outside the gang’s shoots but in Wellington it’s just in working with these pre-determined These two wonderful people fought pad in chapter three where all the their DNA. We had a base lighting look-up tables. We deliberately lights are out and we are in this big every step of the way to pull off setup of the night exteriors of a 12k destroyed the image as much as wide opens space with single source this beast. Kelly is as dedicated as Fresnel and some 6kPars up on a we could incamera to bring out 12K lighting the carpark. Danny they come and Pope was the most mountain for general underexposed some texture in the digital sensor. pulls Red (Poroaki McDonald) supportive producer I have ever ambience and then a series of about Postproduction producer Amanda outside as he has just been taken worked with. fifteen specifically placed industrial Heatley and the whole team were an advantage of. practicals to light the set along with amazing support. When you walk I’m very proud of the film and feel three fires with flame bars. From into Park Road Post you are in a We’re seeing Red become a man it’s such an amazing achievement there we would float around a couple facility that is amongst the best in the under the older brother mentorship for everyone involved. 14 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 15

unsurmountable restrictions is critical. In screen industry to ensure New Zealand stories 2019 it is estimated the film production and continue to reach audiences. TECHOSPHERE distribution sector worldwide was worth The fund has been open for just over a month US$177 billion. In New Zealand the screen and to date, 13 complete applications have been sector is valued at around $3 billion per submitted, and seven have been approved. We annum and employs over 16,000 people are keen to see more applications underway across more than 29,000 jobs. The economic and have been encouraging productions to impact of the screen sector is not limited to register their interest in applying to the Fund. those working directly on film sets, but also in spill-over spend benefits for Another programme within the Government’s September – October 2020 Snapshot accommodation providers, catering Screen Sector Recovery Package is the $2M that businesses, tourism and more. has been allocated over two years to support toolkit has been shared with international cultural capacity. This funding will support In August and September New Zealand Throughout the period when productions studios and independent producers, the screen sector to develop the necessary films excelled at the New Zealand Box were forced into hiatus, the NZFC launched demonstrating New Zealand’s commitment to industry, technical and business capability Office and as of the end of September new and existing programmes - such as Boost, best practises. to meet the challenges of a post COVID-19 Savage remains in the top spot for Boost up, Mentorships and global producer environment. Managed by the NZFC’s Talent There are currently three New Zealand feature speed meetings - to support the screen sector the second week in a row. This Town Development team, the funding will focus films shooting, and several series dramas. It’s to gear up for a new wave of production in a is still in the top twenty as it enters on three key areas to ensure the support is now a time of high production activity in New COVID/post COVID environment. The NZFC its eighth week in cinemas. Both across the sector – Guilds and associations, Zealand. In addition, five major international made substantial investment into business have achieved ticket sales well above strategic training and short film funding. and project development programmes to productions are underway. NZFC worked The first two strands of this funding have just estimates. Congratulations to all the ensure a pipeline of production-ready projects closely with MBIE to promote the value opened to applications. Industry partners cast and crew involved with these and continues to flow. Other programmes such in having screen production considered and screen sector organisations may apply the other New Zealand film currently as mentorships were enhanced by the move in the critical worker category for border for funding to either enhance and/or expand in theatrical release. It is fantastic to online as it allowed a far larger pool of exemptions. International productions have existing programmes or deliver new bespoke experienced global mentors to be gathered see that New Zealand films are drawing provided jobs for thousands of crew on shoots programmes of skills and talent development. -with geography no longer a consideration. audiences back into cinemas. Some mostly filming in the final quarter of this year NZFC’s existing programmes will continue to good news in challenging times. and into the first quarter of 2021. The impact of COVID-19 is of course run as usual. worldwide with festivals and markets also COVID-19 continues to impact the screen The number of enquiries from international The funds for guilds and associations will forced to move online. The NZFC took part sector disrupting jobs and livelihoods. The productions wishing to locate in New Zealand support the vital work that New Zealand in the inaugural Cannes Marche online and pandemic has affected every part of the grew significantly throughout winter 2020, screen sector organisations and guilds supported 100 New Zealand producers and industry and this year has been tough for with location, budgeting and production undertake, enabling them to continue to industry practitioners to attend. everyone. While streaming services had research at peak levels. New work has been provide services to their membership and already led to significant changes to the secured for Wellington, with a series well In addition, we are actively ensuring that New the wider industry. The sector wide skills industry, the pandemic has accelerated this, underway before Christmas and several Zealand producers remain connected with the and industry development programmes will forcing us to adapt new ways of working - and other productions are working through their global market through one-to-one meetings meet the current and developing needs of to significant new risks - at speed. consideration of New Zealand as a production with sales agents, financiers and platforms. the sector that will enable talent to develop, destination for 2021. Incentives, exchange To date, close to 300 meetings have taken upskill and flourish in a COVID-19 and post New Zealand was among the first countries rates, availability of infrastructure and place. All meetings were requested by the COVID-19 world. in the world to develop protocols for creating access to quality creative and technical market partner after their review of producer a safe environment for the screen industry to The NZFC continues to review and deliver expertise are still the key factors clients biographies and their project slates. get back to work and its rapid response in this its existing programmes and work with weigh up, with New Zealand’s highly effective area has been internationally recognised. The In July the Government’s $13.4M Screen government to ensure new or expanded COVID-19 management now an additional Screen Industry Aotearoa Guild and Screen Production Recovery Fund was introduced to programmes trigger and maintain sustainable positive consideration. Sector COVID-19 Action Group developed allow short and feature productions impacted employment for people across the industry the ScreenSafe’s COVID-19 standards and This ability to pivot and get back to work by COVID-19 to be completed, delivered and and to keep New Zealand films on cinema protocols supported by NZFC funds. The despite what could have been perceived as screened, and to help rebuild New Zealand’s screens for New Zealand audiences to enjoy. 16 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 17

IN MEMORY OF

William Arthur (Bill) Black mbe 1944 - 1st July 2020

Early Queenstown morning, bloody cold; rescues in total. Amazing for a pilot that was bolting the ‘Tyler’ side mount into the same mostly self-taught in a time when stretching side as the pilot, as usual I would’ve been the limits of the equipment was what a displaying an overtly fussy and nervous bloke in the New Zealand bush did and then disposition. Bill, the pilot to be, was already there was the conservation work, the heli- the older guy in the hangar, more-wise and ski industry and tourism. And a volunteer more considered than any of us. In the time fireman. The record says 25,572 hours it took to put the mount in (maybe one clocked with the collective up; for a time he hour) he had made it clear that he was the held the world record for the most hours captain of the ship (and that wasn’t ever airborne in a helicopter. going to change) and he knew a thing or two “There’s a lot of noise around a chopper about this filming business and how excited but that doesn’t mean you have to ‘slam the they can get… and we’ll be having none of doors!’” - Bill was gruff and gentle and a that yelling and demanding stuff on board wonderful human being. this ship, he said gently. I really liked him from that moment onwards. With Bill in the pilot seat you could use words like ‘fly this shot in a dynamic He went on to explain how a loose glove or manner’ – ‘we need to turn this thing on its fancy scarf could blow out the open door end to get around’ – and he would do just and take out the back rotor, he checked our that yet you were still within and on top of work and his prep and checked again (and a stable platform and then he would want again) before we took off – check, double to know how we could make it better… I check and then check again. From this day think I developed a language because of Bill onwards I’ve always gaffer taped the lens Black’s need to get the shot right and for me hood so it would never get taken off by the to tell him what I wanted to achieve. slipstream, zipped up my pockets; secured those spare batteries. Meticulous with his preparation and not to be harried by us flash film guys that wanted Helicopters and film work have become just one more or could we leave now to get a mainstay in the South Island. It’s the light, but most importantly the way dangerous work. that Bill involved himself in the shot and Bill Black contributed hugely to the contributed to making it better and then TV commercial scene in Te Anau and even better still. Queenstown. When we worked together On one occasion he put the aircraft into a in the early 90’s he already was that guy steep dive and flew flat over a spur, circled who came from a different era, 1960’s deer back and paused for a moment. See that recovery, live animal capture - the likes we clearing he said, that’s where the first live will never see again. Flying skills honed in deer capture was achieved – he might’ve placed the pumping mechanism into it to once’, was his laconic reply but you only get the South Island bush and mountain peaks. mentioned a date in 1967 when Tim Wallis refuel the helicopter he reached under the one mistake and it’s all over eh? – I did like Unforgiving, dangerous. Not a world for the was running the deer meat business. back seat and pulled out a stick, and then his super cautious approach to flying and reckless or disordered operator. Shooters out the side door, net guns, steep from a click-clack container he pulled a anything that added to the safe levitation recovery, narrow gorges. Bill was a pioneer small cloth which he wrapped around the was top draw in my world. Aerial shooting is dangerous at the best of and flying skills adapted from live deer times, even more so in the alpine terrain stick, he push the stick into the drum and We did some spectacular work that day. recovery were perfect for film work. of the South Island. You had to look up and then inspected it. He could see I was looking Some of the best aerial shooting I’ve ever respect a man who had been on so many Later that day we dropped down into on curious, I asked the obvious. Checking achieved. Flying seamlessly from valley rescue missions in this unforgiving terrain another clearing by a small hut. 44 gallon for water in the fuel. It’ll put the wick out to valley across mountain saddles filming and relied on more than just good luck to drums of aviation gas were stored in the and then you’re into the bush, I asked him climbers below – flying from one wind come back in one piece, more than 500 open. He open the top of one but before he how many times he’s found water? – ‘Just the direction to the opposing in one smooth 18 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 19

move, great flying from a master craftsman. the edge of the slipstream. We were mainly Another season and this time a stunning Bill would talk the aircraft through the chasing cars across the South Island tundra spring day - I had misjudged the pickup spot manoeuvres, everything on board was (damn it, if someone hadn’t put these white for our run - we had skied too low - and the personal and close, even the mechanical posts down the side of the road we could get only option was to pick up from a little mini device was given praise and reward for good lower you know?) or flying through the Alps shelf I had to dig in the wet snow; Blackie work done. Keeping the machine level when (so cold the camera would freeze). bought his machine in and with the grace hanging out the side door was vital to keep of a metallic ballet dancer placed the tip of We got to the end of the shooting process the rotors out of the top of shot on steep and landed - our day complete. one skid into the completely inadequate turns. Bill was the absolute master of this shelf I had dug. The Punters got the thrill flying style. I would say the one and only. Bill and I viewed the final hero shot; I of their lives having to clamber one by one happened to mention a small thing that into a hovering helicopter and when I had There’s always an older guy in your life to could make it better in that ‘if only’ kind of the skis loaded I jumped in next to Blackie tell you stuff that you need to get through way (thinking that it would be if only in an fully expecting to get an ear full but as he the shit of the next bit. That person to say I first encountered Bill Black while working ideal world). Bill asked to see the shot again, peeled away from the slope he was wearing those things when they needed to be said for Harris Mountains Heliski in the 1990s then again. He said I see what you mean, that same huge grin on his face - Blackie was and to settle the flow of youthfully induced - there was always a little buzz when we let’s do it again, I know a better spot he said. enjoying this, it was what he was made for. ego and outrageous behaviour and like a I was blown away by the commitment and heard Blackie was flying up form Te Anau to man swept away in a flooded river you grab the professionalism, so in falling light we work with us for the day, he was immensely Years later I has the pleasure to fly with Bill at all solid ground as the water sweeps you redid the shot at a slightly different location popular within the Heliski industry and Black as a cameraman, we were shooting towards peril, a steady hand reaches out (it might’ve been inside the national park – with good reason - clients loved to be flying aerials for the NZTB using the Tyler side and grabs you and pulls you to safe ground who’s looking? – nothing was said)… with such an experienced and notable pilot mount - this is before the days when a - he might say something like – ‘and don’t It was perfect. and for his part Blackie would often work helicopter shoot meant sitting at a control slam the doors!’ – Not so much gruff but the crowd by giving them little zeroG thrills panel drinking a latte, to fit the Tyler mount Checking for water in the fuel – you only to the point. In the scheme of it all I spent passing over humps and ridges with that big both doors come off the pilots side of the get one chance at this. The lessons were not very little time with Bill Black, a few weeks grin on his mug. machine and the mount goes in the back spread over a few years, which is way out of complex, nor were they delivered with any Heli-guides loved the way he could behind the pilot. proportion to the wisdom I still carry that overt wisdom, yet they have stuck with me effortlessly deliver them to postage stamp Forward looking shots can only be achieved he instilled in me. and have informed many decisions I have made since. Thank you Bill, you shared a sized landing zones above their selected by the pilot flying sideways and the We put our lives in their hands. It would be part of yourself that cut through the bullshit runs but it was more than that - there was a cameraman panned hard to the left, at a fair to mention that the earlier days of aerial of the film business and put us in a place of sense that Blackie had your back if things certain point you cannot pan any further camera work had a certain gung-ho element learning and beyond our self-importance. got a bit interesting - his rescue career was left lest the machine comes into shot, at to the execution of some of the shots. The proof enough of that. that moment it’s all on the pilot to find a So long Bill Black. RIP. Pilot extraordinaire. Tyler and Magnum side mount was the bit more pedal to get you the angle, Blackie Legend. Once when heli-skiing in the Branches weapon of choice… the camera operator station (behind Queenstown) we were was a master of this and during every shot sat just on the edge of the machine and on Waka Attewell caught out by the weather, a sudden snow he would be verbalising his requirements storm had engulfed the mountains and directly to his machine as if this was the we were stranded on the hill. More than secret sauce to getting more pedal. “Get 50 people with no real way to get to safety. ‘round ya bastard, easy now, easy now, not Blackie lead from the front and in near like that! - get back around ya ******* ”. white out conditions he flew his chopper up Blackie had a real eye for this kind of flying river beds and ravines meters off the ground and was a fountain of inspiration for shot so he could stay in visual contact with the ideas, above Lake Wakatipu he even took us creek bed or rocks and finally one by one directly through the smoke trail of the TSS he was able to locate and extract the groups Earnslaw as he thought it would look great to safety. on film - and it did. I was in the last group to be rescued - we had A big part of me loves the way that after all skied down to a frozen riverbed and painted of these adventures, all of the danger, all the snow with luminous red paint so Blackie of the selflessness Blackie passed away of could see the surface with enough clarity to natural causes while in retirement, that says land, on the way out virtually all I could see something. Today writing this I can still see was white, I still have no idea how he did his contagious grin - RIP mate. this but you had the sense it was just another day at the office for him. Simon Baumfeld 20 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 21

IN MEMORY OF

Keri Ngapera Kaa – cnzm, qso Ngati Porou, Ngati Kahungunu 1942 – 2020

By Lisa Maule It seemed totally normal to me, as a young pākehā, that contemporary Māori theatre As I was sitting in the memorial for Keri existed and was being created by committed, Ngapera Kaa in the Taki Rua rehearsal room professional makers and doers. In hindsight at the end of August I was feeling the legacy it wasn’t normal throughout New Zealand of her as spokesperson and teacher. The and it was only because of battles by Māori tangible celebration of Keri is felt in the through the 60s, 70s and 80s for self- love she has from the many people she gave governance and recognition of systemic guidance to; she is significant in the lives racism that led to this intensely creative and of many. innovative time. In her life Keri advocated for Māori artists, There was a cross-over of Māori artists Māori art, Māori language, women’s rights working in both theatre and film. In 1989 and the retention of Māori land. There are the short film series E Tipu E Rea included numerous organisations who asked for Keri as one of the a driving visionaries with her advice, and her investment in what she a kaupapa of Māori in key creative roles believed in makes it seem like she never bringing together Larry Parr, Lee Tamahori, said no. Riwia Brown, Don Selwyn, Rawiri Paratene, The energy of Keri Kaa was palpable, Temuera Morrison, Joanna Paul, Wi Kuki voices within Pākehā institutions. She select committees and international I remember it at Taki Rua Theatre in Kaa, Patricia Grace, Hone Tuwhare and taught at Toi Whakaari: The New Zealand advisory groups. Bruce Stewart. The ground-breaking work Wellington where I was a tech and designer Drama School and was a cultural advisor from this and other efforts fed into the Other awards Keri received: in the 1990s. I saw the positive effects as they were trying to learn what being a theatre scene I had been part of. Keri’s energy had on the people she was bi-cultural organisation meant. She was a • 2016 Ngā Tohu ā Tā Kingi Ihaka (Lifetime supporting in their work to forge a way for Keri Kaa was a teacher when she started cultural advisor to the New Zealand Film of service to Māori arts), Creative New Māori performing arts. I was at Taki Rua out. She graduated from Ardmore Teachers’ Commission (NZFC) in the 1980s, and a Zealand Te Waka Toi Awards working with on the women’s cabaret Hens College in 1963 and went on to work as member of the NZFC Short Film Fund. • 2014 Inaugural Māori Language Award Teeth and Not Broadcast Quality with Sally a Māori Language and Tikanga teacher for the New Zealand Post Book Awards Rodwell and Madeline McNamara, and Some other insitutions she was connected in primary and secondary schools. Then for Children and Young Adults (for the because my flatmate Maila Urale worked with are Creative New Zealand, Te Waka the Wellington College of Education / Te book Taka Ki Ro Wai that she wrote in the there. I was lighting and set designer for Toi, the National Library, DANZ (Dance Whanau o Ako Pai ki Te Upoko o Te Ika in Waiapu dialect illustrated by Martin Page). Aotearoa New Zealand), Taki Rua Theatre, some of Taki Rua’s early Te Reo Māori Karori was Keri’s workplace for almost two • productions including the futuristic Pūkeko decades, she started there in 1979. While Ministry of Culture and Heritage, Tairawhiti 2013 Women in Film & Television (WIFT) Tuawhā by Hinemoana Baker in 1998 and at teacher’s college Keri was involved with Museum Gisborne. In 1980 she was part New Zealand Mana Wahine Award of a group who marched to parliament Hawaikinui, directed by Keri’s brother, Wi the Haeata Women’s Collective, a group of • 2010 Women in Film & Television (WIFT) to demand that Māori language become Kuki Kaa in 1996. Māori women artists, the Herstory Diary Te Whaea Whakaata Taonga Award project and the Waiata Koa collective. Te official (it was another seven years before I remember Keri’s good friend Tungia Baker Keri had 11 siblings including Wi Kuki Whanau o Ako Pai was a special place which that happened). In addition, Keri had also – a combined force. There were deep Kaa (well-known actor), Arapera Blank (an has exerted a strong influence on New associations with Tapu Te Ranga Marae, discussions in the foyer interspersed with award-winning writer and poet) and the Zealand society including film, television, Te Upoko o Te Ika Māori Radio and Te laughter with staff, directors, supporters, Archdeacon of Auckland Dr Hone Kaa. performing arts with many practioners Wānanga o Raukawa, and she judged in kapa often I was passing by, sometimes I was Their father was Reverend Tipi Whenua Kaa, passing through as teachers or students, haka and Māori speech competitions. In leaning against the bar and sometimes I vicar of the Waiapu parish and their mother including the beautiful soul Laughton 2010 Keri featured in the Māori Television’s was in the circle. I also remember quietness was Hohipene Kaa (formerly Whaanga). In Patrick who we also lost in recent weeks. He series on leaders, E Tu Kahikitea. and thoughtfulness for the work on stage later years Keri returned to her birthplace also guided and uplifted so so many in his during the Te Reo Māori, and Taki Rua She recieved two awards from the crown – Rangitukia. In a Storybox project Keri was time in theatre and in education. main bill productions including Te Ohaki Companion of the Queen’s Service Order filmed talking about the importance of a Nihe by Selwyn Muru, Ngā Tangata Toa The list of her associations and awards is a in 2001, and the Companion of the making one’s wishes known toward the end by Hone Kouka, Whaea Kairau by Apiranga testament to Keri’s commitment to making New Zealand Order of Merit in 2012 and of life. Keri died aged 78 at Te Puia Hospital Taylor and Irirangi Bay by Riwia Brown. a difference. She was staunch about Māori Keri was often called upon to speak at after a long illness. 22 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 23

Keri Kaa memories from and pioneering force. Her influence in helping setting up the first Māori Dame Gaylene Preston dnzo professional theatre – Taki Rua – and her Keri Kaa was a force. Cultural, spiritual, tireless promotion of Māori filmmakers intellectual. I met her in 1980. Tungia Baker when she advised the NZ Film Commission brought her round to my house. When you – particularly on the short film fund were friends with one, you got the other. panel – certainly contributed to the depth Both among the first Māori American Field and spread of Māori filmmaking as it is Scholars. Keri Kaa – ‘she was boss,’ before today. She never worked alone. The great that phrase was invented. persuader. She taught me a lot. Keri had a keen eye for talent and, a poet And if anyone got a bit big headed she could herself, was a dedicated promoter of all be ruthlessly funny. When a BBC team things Māori particularly in the arts and spent a day filming her brother Wi Kuki education. Wherever fun and activism – another brilliant Kaa – it came her turn collided, that’s where you would find Tungia, to be interviewed for this piece about the and she got a lot done that way, but Keri genius actor that he was. was different. Measured, strategic, and “Yes, but can he mow the lawns,” confident, Keri was more mainstream. She was her response. could command any Pākehā committee Her motto -“Don’t be anti-anyone, be she found herself part of by her sheer pro Māori,” - was one she lived by and presence. Often not just the only woman promulgated. People who form bridges, who in the room, but also the only Māori, she are culturally and linguistically confident maintained her decorum, demanded good in two worlds (her spoken and written manners of everyone and commanded English put me and my peers to shame) are wide spread respect. Tokenism was not toanga. Born of two rangatira parents of a word in her vocabulary. Her ideas were Ngāti Kahungunu and Ngāti Porou, she was visionary and she knew how to get people educated to lead and lead she did. Keri Kaa memories from I met Aunty Keri when I was training in at on board to make them happen. She did this Mere Boynton Ako Pai and me and my classmates knew, by installing fear into the hearts of anyone I’m very grateful to Tungia for bringing her right from that start, that she was a force to who dragged the chain. When she walked round to my place that blustery night in The Keri Kaa I remember was always giving be reckoned with. I think they created the into the room it was as if the ground shook 1980 and thank the Gods I passed muster me little snippets of advice and tautoko. She expression “Boss” especially for Aunty. and the metaphorical red carpet rolled out and came to know her well. She is greatly was a constant presence during my Taki Rua I was often lucky enough to drive Aunty before her. loved by everyone who knew her and will be Days along with her brother Wi Kuki Kaa. missed by many. home to Berhampore from Karori and They were our kaumātua, our pou that we A true rangatira with a beautiful poetic she would regale me with wonderful tales leaned on for guidance in navigating our streak, I was lucky to have her services on about her siblings and different members way through the wilderness of telling our several films. She was cultural advisor for of her extended whanau. It was through stories in our voice and creating a platform Ruby and Rata, giving Graeme Tetley, Robin Aunty Keri that I was introduced to the for Māori theatre. Now is a time of change Laing and I confidence to make a comedy mahi of Taki Rua Theatre, which would end for us in theatre, our kaumātua are leaving drama about outsiders – an abandoned up being the starting point for my career us and it is time for us to take up their Pākehā elderly woman, a Māori solo mother and where I met her formidable brother, mantle 'Ka pu te ruha ka hao te rangatahi' and her truant arsonist son that became Wi Kuki Kaa. Crikes, what a combination! As the old net withers another is made. the feature film. Later, when I was making She had impeccably high standards and Moe mai e kui, hokihoki koe ki ngā kahui a documentary about Keri Hulme for her expectations of what we, her students, rangatira. Sleep well e kui, return to the Thames Television UK, a commentary was produced were equally high. Of course, embrace of your tipuna. called for. I didn’t think the film needed a those same expectations extended to the commentary, but the British commissioners work produced at Taki Rua. Keri Kaa memories from wanted one. I asked Keri Kaa. She Tanea Heke I am thankful to amongst that number who composed a beautiful poem in te reo Māori, were lucky enough to be taught, scolded and then sang the commentary. Everyone happy, I have many wonderful memories of Aunty loved by Aunty Keri, we will remember her especially Thames TV. Keri Kaa from Ako Pai (Teachers’ College) with great affection. here in Wellington and then later at Taki You can see from her extensive list of Rua Theatre. Moe mai rā e te mareikura, hei oki oki ai. achievements, that she was an educator 24 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 25

REGIONAL WRAP

Take one – Auckland Take three – Bay of Plenty

This year we have heard the word ‘unprecedented’ second lockdown has highlighted is that we cannot Winter has been busy and now spring has sprung The hard work of the team and board over the so often in relation to the Covid-19 pandemic that become complacent, and that our personal hygiene it is all go in the mighty Bay of Plenty. From last three years is bearing fruit. We continue to our ears started to hurt. We were rolling from day and health needs to be our first and foremost Tauranga to Waihau Bay, Maketu to Taupo and grow both our local and the wider New Zealand to day hearing nothing but bad news from around consideration when we step on set amongst our everywhere in between the Bay of Plenty is on the screen media eco-system in conjunction with the the world, and our own back yards. Jobs fell over, peers from now on, and probably for the next year map as a film destination. network of Regional Film of Offices, The Screen dramas packed up, feature film bookings fizzled, or two. Sector 2030 vision, the guilds, funding bodies and A big shout out to NZ On Air for funding the and then we locked down. the wider industry. It does however, give me great pleasure to say, that Greenstone TV production “Vegas”. The $5.6 The panic and uncertainty of unemployment the last month, including lockdown, has seen the Million TV series which will be shooting in A big welcome to Jade Kent. Jade has joined the prospects were rife, and were soon overtaken by largest, ‘unprecedented’ increase in crew working Rotorua until Xmas. Film Bay of Plenty has team as acting Film Office Manager while Anton a feeling of surrender as the whole world started in the Auckland area. The stimulation that we been working with the producers for the last 18 is on sabbatical and Elysia is on maternity leave. to experience the same thing. At least for many in have seen has been incredible to say the least. months to bring this shoot to the region and it is Opotiki based, Jade is the former Supervisor the film industry we are familiar with peaks and It has also highlighted the fact that we need to great to see the series, the associated workforce of Operations at Al Jazeera and brings 15 years troughs of work flow, so we are somewhat more continue to take the younger, greener technicians development initiatives (more on that below), and of industry experience to her role and the resilient than other industries when it comes to under our wings and train them up, because we utilisation of Waiariki Film Studios as a result. being resourceful and putting our survival kits on. are experiencing a huge shortage of skilled camera organisation. Jade will be servicing any incoming assistants, 2nd AD’s, production coordinators, Alongside “Vegas” a feature film will be shooting enquiries for the remainder of the year. The second Auckland ‘lockdown’ came with little- lighting and grip assists, key grips and sound in Taneatua in November, a further TV series to-no notice, and meant that over 22 television For enquiries, you can contact Jade on recordists for the first time in over 20 years! What in Rotorua and potentially another Feature Film commercials had to abandon their shooting [email protected] an unbelievable turnaround from six months ago, in Taupo in summer alongside various lower options and rebook/rejuggle and re quote, along when we were all forced to sit idle for 6 weeks. budget drama initiatives that are underway across with another stall of the preproduction of the the region. Auckland based large productions, although this I would urge all of you to continue to help grow time, I felt everyone was a little more relaxed, and our industry, so that we can all enjoy the rewards could see the wood for the trees, so in true kiwi of New Zealand being that safe little haven in the style we carried on organising what we could for Southern Hemisphere where all the studios want to Take four – Christchurch when the city stepped down into a shootable level. come to shoot. Take a trainee on, teach them what you know, and encourage productions to find a With the help of the Screensafe guidelines, Spring is in the air and the temperate Nor-Westers Producer Scott Flyger had a successful double little extra in their budgets to let you bring them to crew can be sure that they have the right skills, have begun, reminding us to ‘block up early on set. header premiere recently at the gorgeous Lumiere set as often as you can. Cinemas. The first was a short drama penned and knowledge and pathways to shoot safely and Domestic commercial work has resumed its confidently without putting themselves, or the Sioux Macdonald, Guild vice president and normal pace with projects for Audi, and the All directed by Fiona MacKenzie titled Peninsula. The public at risk of catching Covid-19. What this executive committee member Blacks passing through town. second was next instalment of the comedy-of-errors film-shoot-from-hell web series, Don’t be Frank. The international market is a bit slower to return as most of the travel exemptions are for crew on These productions are on the back of the large and long form productions. That being said continued momentum the Christchurch film there are a few major car companies sniffing community as a whole has had over the last Take two – Wellington around and wanting to bring projects back to the year. Despite Covid there has been a great deal region in the later half of the year. of co-operation and planning to help drive up It feels like the city and the film business have struggling to play catch-up with 2020. Crew the profile of the region. Several hui’s between A Scottish NZ co-pro feature called the The come a hell of a long way in just three months. are back to picking between jobs and actually local industry and local council have resulted in Unloving is looking to kick off in the new year. From barely daring to believe we might be able to having to keep a close eye on their diaries to greater cooperation between both; an updating of work again, to that damned ‘re-emergence’ (Sorry avoid double bookings. Manaaki Films Producer Lynette Shingleton location permitting processes and amendments Auckland. .We know you’re doing it tougher than teams up with Luscious director Richard Gibson, to the building consenting process specifically Walking home just now, across Te Aro and the us right now.) to one of the busiest months we have Line producer Amanda Jenkins and DOP for developing film studios. Watch this space…. central city, I passed three small film crews all ever had at the Crew Wellington office. Simon Waterhouse for a TV Travel show for the hard at work. Three. At 8.30pm on a Monday The Christchurch Branch of SIGANZ turns 1 and international market, shooting around the Banks Out in Miramar and other spaces around the city, night, all within a kilometre or two of my home. the membership continues to grow, as does the Peninsula in October. the Avatar just keeps on turning, taking up a huge The last time I saw anything like it, I was living capacity of the region. part of the city’s film workers for a project that in Grey Lynn. Kyan Krumdiecks’ loveably endearing comedy All in all, things are on the upswing. Looking won’t commit to an end date. Meanwhile, a slew of short Working Class, filmed and crewed locally, Long may it continue. forward to a cracker summer. smaller jobs, small features and funded shorts, as has been selected for Show Me Shorts this year. well as the usual TVC’s and corporate jobs are all Graeme and the crew at Crew Wellington Definitely worth a watch. Catch you on set no doubt, Zac. 26 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 27

REGIONAL WRAP NEWBIE PROFILE

Take five – Queenstown Alana Henderson has joined the Guild. Welcome! Hi again NZ Techo crew. Queenstown has a few jobs idea that will appeal to a wide international market. coming through this spring. Yay! Sweetshop’s TNZ So the upshot is, our calendar is looking nice and full How long have you been in screen production and how did you ‘Message to the World’ kept a few of us paying the compared to the previous months! get started? bills and it’s nice to see Kiwis being captured so It’s a new world with a constantly changing landscape My first real job in the industry was actually as a Stand-in and Body naturally and beautifully in the finished article. It’s both professionally and personally planetwide Covid Double for Saiorse Ronan on the Lovely Bones. It was such a great a great line up of locals’ just doing their thing with 19 has allowed us time to evaluate what is good for opportunity to observe the Cast and Crew from the sidelines and see some familiar faces and “Woof Woofs!”. our futures and let’s be honest, we needed to reassess how everything fitted together and how each role contributed towards Curious had some extra challenges completing their our priorities and how we treat each other. Amongst the final product. While there I asked the ADs and Production for more commercial. The Director was working remotely from the Covid 19 crisis we might forget the seachange work and opportunities to upskill when I wasn’t needed on set and it paid LA, so the Techies were impressive maintaining the that is occurring in the film industry. It has recently off. I managed to wiggle my way into the industry full time from there. For link in some pretty isolated spots. It was interesting to had to face up to inherent sexism and racist bias with the last ten years plus I’ve worked mainly in the Production department see Agency and Client on their own Zoom and Skype the #metoo movement, Black Lives Matter etc. NZ (these days as either a Production or Cast Coordinator). My experience monitors chatting away. Most of them yawning in the is not immune. Women in the NZ workplace, and so far has included work on smaller locally produced shows as well as middle of their hot nights while we were all shading on set, still have to think about what may cause an big scale international projects all across NZ and Fiji. our eyes in the end of winter glare and wearing 6 issue or encourage unwanted attention. Sure, men My advice to anyone wanting to get into the industry would be to put layers. A smaller on set presence is noticeable and it may too, but not to the same extent. Females grow yourself out there and ask for work/experience in the sector you’re most works in a different way that we all are getting used to. up considering threat minimisation and how to interested in, and then once given the chance make yourself useful and On the 2nd last day of shooting the call came over the not create a problem for themselves... don’t be too you’ll be employed in no time. airwaves there was Covid 19 community transmission risqué in your speech, don’t wear that top...don’t be and Auckland was going back into level 3, the rest of too sensitive... It’s an endless ‘don’t’ list. The average Why did you choose film/TV as a career? the country to level 2. Curious were to finish shooting kiwi male won’t wake up considering these matters I think what I love most is the storytelling aspect and the ability to express down here in Queenstown and head back to Auckland as much. In recent years I’ve noticed most males on ideas and emotions in such a powerful yet beautiful visual style. It’s such to end the shoot but that was impossible as all set are more consciously supporting their female a rush to be involved in a project you are really passionate about and productions were on pause. Queenstown’s incredible counterparts and are actively recognising and curbing Jane McCurdy and the local production crew re-jigged that you know could spread positivity, inspiration or an educational behaviour before it is perceived as a threat. But message around the world. I’ve seen first hand how even the little films the schedule, found some alternative locations to as I can from others more experienced than myself. However I also felt women still may miss out on the next job because can have a big impact on the community and I absolutely love that film fulfill the brief and pulled it all together. Curious strongly about supporting the fantastic work that the Guild does. Special someone is working on it they became uncomfortable can have that power. were able to complete the shoot and eat a good with, or they may be on set and avoid getting involved mention to how they handled the outbreak of COVID – it was a relief amount of fresh oysters and Blue Cod from down in certain conversations. Who hasn’t heard the In terms of lifestyle I love the flexibility and variation – the change of to have such informative newsletters guiding us and keeping us well south to celebrate. disclaimer “I was only joking and she was fine with project, of people, of locations. It keeps it fresh and interesting and informed during such a scary and bizarre time. Good Oil has been down shooting in the recent, it at the time.” Maybe she wasn’t? The difference in means there is always a new challenge to tackle. What strengths do you think the NZ industry has? What could variable spring weather too, while an interesting shoot her mind may have been the perception of threat. All And although I was drawn in by these points above, I know I’ve remained contribute to a more sustainable industry? is happening north of Wanaka for the next couple of crews- let’s be present, let’s be considerate. Phew, that in the industry due to the many like-minded souls and the comforting New Zealand is full of such talent and creative flair but I’ve also found it weeks- Nude Tuesday. It seems like a really interesting got heavy there. Kim Godby out. feelings found by working in a crew (aka film family). It’s my home away to be full of friendly, helpful lovely people who generate such great vibes from home. and who make you feel so welcome. No wonder international shows love Do you also work outside of film? coming here – we have stunning scenery but also such A-list crew that often end up making their job a breeze. It’s a no brainer for them really! No not currently, there’s no time to fit anything else in at the moment. The industry is booming and it’s fantastic to be caught up in it all. I’m trying to Something I would love to see soon is an updated crew rate card which ride the wave as long as I can! I think would help towards fostering more pay equality between shows and also possibly help to review the huge shifts in pay between different What have you learnt about your department as a whole? departments as well. I’d like to see a rate card that suggested a payscale That no two projects are the same and expect the unexpected... oh and for newbies or those starting out, for those with a few years under their also never assume anything! Production is a department of many hats belt and also for those who have been in the industry for decades and and as well as being friendly and accommodating you also need to be are very experienced in their fields. adaptable, hardworking, a real problem solver and willing to get stuck in I also hope that the future of the NZ film industry heads in the direction and do whatever needs to be done to ensure the project runs smoothly. of more work life balance – especially for parents who juggle kids/other I’ve also learnt how important the team is around you. You’re nothing life responsibilities as well as a 12-14 hour day at work. (How do they without your team. (Hence a little kindness and support to your other do it?!) I’ve started to see more instances where job sharing has worked team members goes a long way!) well and I love the idea of family friendly days or daycare being provided on site. I think it’s important to remember that although what we do for Why have you chosen to join the Guild? What do you want and work is awesome – we should also remember to have a life outside of the expect from the Guild? film industry too. This work/life balance will also ensure we are allowing I partly joined the Guild as I wanted to be part of a community I deeply room to foster good mental and physical health habits – something that respect while also using it as an opportunity to learn and grow as much I’m personally very passionate about. 28 | NZTECHO Spring 2020 NZTECHO Spring 2020 | 29

NEW MEMBERS We’ve Got You Covered.

Join us in giving our new members a warm welcome!

Blair Teesdale: Auckland Lighting Leon Narbey: Auckland Camera Rejoin Laura Hutton: Auckland AD Ben Howard: Auckland Camera Monique Knight: Auckland Script Supervisor Thomas Eucla Davies: Auckland FX Sophie Calver: Auckland AD Dominic Halpin: Auckland Facilities Nellee Walby: Auckland AD Tracey Henton: Auckland Make-up Martin Bath: Auckland Art Lisa Cook: Auckland Script Supervisor Michelle Marchant: Auckland Make-up/Hair Esther Collas: Auckland AD Robert Young: Auckland Art Dept Sam Kissick: Auckland FX Alana Henderson: Auckland Production Rejoin Darrell Green: Auckland Sound Anna Carter: Auckland Art Beck Woolhouse: Auckland Art Daniel Cruden: Wellington Costume Ben Alpers: Auckland Production Declan Cudd: Wellington Transport EXECUTIVE OFFICERS Dagan Jurd: Auckland FX Rejoin Kevin Romond: Wellington Post Production Rejoin L A R G E F O R M A T L E N S E S President Fred Enholmer: Auckland Sound Graeme Anderson: Wellington FX THE ONLY CHOICE FOR UNLIMITED CHOICES Brendon Durey Jaive King Harris: Auckland Grip Victoria Dabbs: Wellington Production Vice president Jessica Workman: Auckland Costume Sioux Macdonald 021 969 609 Jon Hill: Auckland Camera Ondrej Najman: Christchurch Camera Auckland chair Joseph Worley: Auckland Set Construction Tina Hutchison-Thomas: Christchurch Costume Nick Treacy 021 280 8950 Justin Brown: Auckland Lighting Rihari Taratoa-Bannister: Christchurch Art Wellington chair Adrian (Wookie) Hebron 0274 437 028 Kaveh Sharifian: Auckland Sound Christchurch chair Oliver Gee: Auckland FX Joe Murdie: Queenstown Camera Amanda Jenkins 021 220 1022 Sophie Rose Massey Broadbery: Auckland AD Adam Walker: Queenstown Camera Queenstown chair Stephen Joyce: Auckland Lighitng Rejoin Harriet Fyfe: Queenstown Catering Wayne Allen 0274 451 113 Gina Deakin: Auckland Locations Laurie Buckland: Queenstown Make-up/Hair Treasurer Jake Slaney: Auckland Sound Jeremy Anderson: Queenstown AD Tyrone Payne Graham Urry: Auckland FX Toby Mills: Queenstown Location www.panavision.asia For full committee listing and contact details please email: [email protected] PANAVISION AUSTRALIAN CINEMATOGRAPHER

Panavision · Definition Magazine SCREEN INDUSTRY GUILD AOTEAROA NEW ZEALAND OFFICE Kelly Lucas, executive officer Jane Scott, accounts officer

Tel: 09 8899522 PO Box 68-294, Wellesley Street, Auckland 1145 [email protected] [email protected] [email protected] VISIT ScreenSafe.co.nz www.screenguild.co.nz facebook.com/NZFVTG Health and Safety for the Screen Industry Helping create safe workplaces CREW REPS Screen Industry Guild office hours Remember to organise a crew rep on your next production. A crew rep, preferably someone Monday to Friday, 9am to 3.30pm who is familiar with The Blue Book, is the most efficient way to keep the lines of communication Outside these hours, please leave a open between the producer and the crew. phone message or email us.