Presents THE REHEARSAL

A by Alison Maclean (102 minutes, 2016) Language: English

Canadian Distribution International Sales

1352 Dundas St. West 160 Queen Street West Toronto, Ontario, Canada, M6J 1Y2 Toronto, Ontario, Canada, M5H 3H3 Tel: 416-516-9775 Fax: 416-516-0651 Charlotte Mickie E-mail: [email protected] +1-416-931-8463 www.mongrelmedia.com E-mail: [email protected]

@MongrelMedia MongrelMedia

CONTENTS

SUMMARY INFORMATION 1 SYNOPSES 2 ABOUT THE FILM 3 ABOUT THE NOVEL & AUTHOR 99 8 QUOTES FROM ABOUT THE FILM 9 ABOUT THE PRODUCTION 10 ABOUT THE CAST 16 ABOUT THE FILMMAKERS 21 ABOUT THE PRODUCTION COMPANIES 28 FULL CREDITS LIST 29

SUMMARY INFORMATION

KEY CREDITS

PRODUCTION COMPANIES Hibiscus P/L and THE Film FUNDING Film Commission, Park Pictures Media Partners, Film Buff P/L & Definition NZ PRODUCERS Bridget Ikin &Trevor Haysom DIRECTOR Alison Maclean SCRIPT Alison Maclean & BASED ON THE NOVEL BY Eleanor Catton DIRECTOR OF PHOTOGRAPHY Andrew Commis ACS PRODUCTION AND COSTUME DESIGN Kirsty Cameron EDITOR Jonno Woodford-Robinson SOUND DESIGNER Dick Reade COMPOSER Connan Mockasin

STARRING

KERRY FOX as Hannah JAMES ROLLESTON as Stanley ALICE ENGLERT as Thomasin ELLA EDWARD as Isolde KIERAN CHARNOCK as William MICHELLE NY as Frankie SCOTTY COTTER as Oscar MARLON WILLIAMS as Theo

TECHNICAL DETAILS

FORMAT Digital Cinema Package DURATION 102 Minutes ASPECT RATIO 1:2.35 SOUND Stereo Mix / 5.1

CONTACTS

International sales - Mongrel Media

Australasian distribution - Footprint Films

1 SYNOPSES

LOGLINE First-year acting student Stanley mines his girlfriend's family scandal as material for the end-of-year show at drama school. The result is a moral minefield. From the novel by Eleanor Catton.

SYNOPSIS 50 words Stanley, a naïve 1st year drama student, seeks to impress his charismatic tutor, Hannah. When Stanley’s group hits on a sex scandal involving his young girlfriend, Isolde, as the inspiration for their end-of-year show, he finds himself in morally tricky territory.

The Rehearsal, directed by Alison Maclean, is adapted from the novel by Man Booker award-winner Eleanor Catton.

SYNOPSIS 100 words Stanley, a naïve 1st year drama student meets Isolde and begins a sweet, first love affair. Goaded by Hannah, the charismatic, domineering Head of Acting, Stanley uncovers a talent and ambition he didn't know he had. When his group hits on a sex scandal that involves Isolde’s tennis prodigy sister as fertile material for their end-of-year show, Stanley finds himself profoundly torn.

The Rehearsal, directed by Alison Maclean and written by Maclean and author Emily Perkins, is based on the novel by Man Booker award-winner Eleanor Catton.

2 ABOUT THE FILM

The Rehearsal, directed by Alison Maclean and written by Maclean and author Emily Perkins, is based on the novel of the same name by Man Booker prize winner Eleanor Catton.

It’s a rite-of-passage story set in a drama school in New Zealand. Stanley, played by James Rolleston (Boy, The Dark Horse), a small town boy, encounters an eclectic bunch of fellow students while attending some very intense classes with Hannah, the demanding head of acting, played by Kerry Fox (An Angel at My Table, Shallow Grave, Intimacy, Bright Star). Hannah goads her students to go all the way, pushing for the most revealing personal details in the quest for emotional honesty in their work.

Stanley meets Isolde (played by newcomer Ella Edward), whose sister has been caught in a sex scandal at the girls’ tennis club, and quickly falls for her. When Stanley’s group at the drama school hits on the scandal as fertile material for their end of year devised piece, he’s faced with a difficult choice.

The Rehearsal marks the return to New Zealand of expatriate director Alison Maclean (Crush, Jesus’ Son), who has been based in New York since 1992. She is joined by Bridget Ikin (producer of An Angel At My Table, , My Year Without Sex, Sherpa), who returned from to produce with Trevor Haysom (In My Father’s Den, Tracker). Ikin and Maclean previously collaborated on the much-loved short film Kitchen Sink, as well as Maclean’s debut feature Crush with Haysom as Associate Producer.

The Rehearsal features an ensemble cast of fresh young actors including Alice Englert (Ginger and Rosa, Beautiful Creatures), Kieran Charnock, Michelle Ny and Scotty Cotter. Acclaimed country singer Marlon Williams features in his first acting role, as does internet sensation Jamie Curry of “Jamie’s World”.

Maclean describes The Rehearsal as “exploring messy moral territory as Stanley is torn between a new ambition to be seen and admired as an actor and his loyalty to his young girlfriend. The overheated world of drama school only magnifies the familiar desires and pains of these young adults.

“It’s a crisis of conscience for Stanley and the story really comes alive when the two worlds of the drama school and Isolde’s family scandal begin to converge and intersect”.

“The Rehearsal plays with the ambiguity of what’s true and authentic, and what’s performed. The quality I most admire in a film is a state of aliveness, 3 and that’s something I tried to capture in this story.”

Ikin adds: “Stanley, the young drama student is having to make choices for himself, as he explores that fluid territory between his ambition and the fact that he’s living in a world which has moral boundaries. Along the way, he makes some inappropriate decisions. As the audience, you know that his mistakes are ones we’ve all made growing up.”

Co-writer Emily Perkins says the story is essentially about “how far will you go to achieve your ambition? What will you betray? Who will you hurt? What will you change in yourself? When can that be good and when can it be dangerous?

“It’s about a young man coming to the city to drama school, discovering his talent, encountering profound new influences and having an ethical dilemma about whether or not he’s going to use his girlfriend’s real life story to fulfil his artistic ambition. Along the way, he learns about friendship and trust, love and betrayal and where your moral core is in relation to how you live and how you work.”

Kerry Fox (Hannah) sees Stanley as being “faced with an onslaught of desire to be a successful actor - to develop, to grow, to be inspiring - but throughout that he is confronted with an essential moral decision about whether he is right to use somebody else’s story - to use somebody he loves - in order to deliver art.”

“Stanley becomes one of Hannah’s favourites. He wants to please her and he’s trying to gain her respect. But he goes too far.”

James Rolleston says Stanley is thrown into the world of drama school: “He went into it with no knowledge and it was a whole different world for him. It was a big challenge for him, so he had a lot of things to learn.

“Stanley’s a teenager from a little town and he’s quite a shy, quiet dude. He’s intelligent, he’s into books and reading and he’s really observant, takes a lot of things in. Because he’s a shy kid he’s intimidated by it, especially his teacher, Hannah. But once he got some friends and started to gain a bit of confidence, he opened up a bit, and he started clicking with Hannah and what she was teaching.”

Kerry Fox says of her character, Hannah, that she “is very good at what she does. She is respected, but she’s a brutal person who is cruel to her students. She comes from the line of teaching that was very popular in the past, in which

4 acting students learn they have to be destroyed and pulled apart and that somehow the teacher is god-like enough to then reconstruct them.”

Maclean says casting Kerry Fox as Hannah was “perfect. She is such a forceful dynamic actor. She has that natural authority that the character needed and a quality of direct bluntness, where you don’t quite know what she’s going to do next.”

Alice Englert, who plays drama student Thomasin: “I love working with Kerry Fox. I really admire her and she inspires me. She has been extremely generous. There are so many times in which between takes she has actually just answered questions as an actress for the students and as a young aspiring actress that’s just wonderful. She’s extremely kind, extremely honest and I love that.”

Ikin adds “I think the young cast had their own little drama school from the learning that they were able to intuit from the actors we cast as the other drama teachers, like Miranda Harcourt and , who are also teachers of younger actors. There was a lot of morphing of life into art into life going on in making this film, which was really satisfying.”

Ikin: “James Rolleston plays Stanley and I think this film is mirroring some things that are going on in his own life: he too is 18, he’s a small town boy who’s experiencing the city for the first time.”

Acting coach Rachel House, who worked with Rolleston on Boy and The Dark Horse, says, “James always up for a challenge and he says this is the hardest role he’s ever undertaken and so it’s been exciting to watch him really step up and take it on. This role and the story is quite psychological, quite subtle and he’s really thriving in this new environment.

“It was fascinating watching him go through this process – for someone who’s never been to a drama school to have to actually analyse the process of acting.”

Alison Maclean says she was excited to work with James Rolleston: “He is such a charismatic and instinctive actor and he brought a lot of his own life experience into the film. He had a very clear idea of who Stanley is, as distinct from James, though I couldn’t always perceive the boundaries. James has this wonderful, and to me, slightly mysterious ability to drop into character the second the camera is on. Something just clicks.”

5 She says newcomer Ella Edward, who plays Isolde, was “such an exciting discovery. She has a wonderful quality of stillness and self-possession. She was perfect because she’s right on the cusp, 15 - sometimes she seems older than that and sometimes younger. She has a presence that’s very compelling to watch.”

Maclean has wanted to work with Alice Englert for a long time and was happy to collaborate with her to create the character of Thomasin: “She’s a very particular, creative being and she took on this part in a relaxed, unshowy way that I really admired.”

The idea for casting singer Marlon Williams in the role of Theo came from casting directors Tina Cleary and Miranda Rivers (The Casting Company), who saw him in concert and were struck by his electric confidence and presence.

Maclean says, “Marlon was perfect for this. He really owns the screen, he’s loose and a natural performer. He plays a shape-shifting gay acting student who’s also a musician, though a different kind of musician to Marlon. He sings in the film but it’s not one of his own songs.”

Kerry Fox says a big attraction for her was the originating story. “I knew that it was being adapted from Eleanor’s book which I really, really liked. I saw how fantastically she gets inside people’s skin and delivers their own perversity. So the idea of playing a character that was drawn from Eleanor’s presentation of character was something I wanted, and as a result the role of Hannah is complicated, complex and meaty. She’s also fun, intelligent and quite witty. It’s not often that you have the opportunity to play a character that’s so rich and strong.”

The film departs from the novel in significant ways, but retains the freshness of being set in a world of young people on the cusp of adulthood. It remains faithful to Catton’s central examination of creativity, in orbit around a sex scandal, and highlights teenage awkwardness and curiosity and boldness.

Maclean says “It’s such a bold, audacious and inventive book and I really responded to the tone and themes. Eleanor uses ‘the rehearsal’ as a metaphor, to talk about what it’s like to be that age when your sense of self is still in flux and you’re testing out who you’re going to become. The title says it all: The Rehearsal is about process, not the finished presentation - and that became the key to adapting this book as a film.

6 “It’s rich material for a film because it fully inhabits what it’s like to be a young person now (though a ‘now’ without cellphones and laptops). Eleanor wrote it when she was 21 and that’s what makes it feel so contemporary and vivid.”

Ikin says it’s a loose adaptation. “We retained the parallel narratives embedded in the novel, though we did need to simplify the book’s jigsaw-like structure, by making the narrative linear.

“Alison and Emily also changed one of the storylines pretty substantially, to create a less theatrical story, which we felt was more appropriate for the film.”

Perkins says, “You can be true to the themes and to the core at the heart of a story while telling it in the right way for film. The Rehearsal is a very literary novel, and quite stylized, so we had to find a cinematic way to make that work.

“We chose Stanley’s story as the core of the film partly because he is the character that undergoes the most change. In his rite of passage and in the choices he makes, he really carries the story.”

Maclean says she had wanted to work with Perkins and The Rehearsal seemed a perfect fit, given that Perkins had been to drama school and is currently a teacher. “We have complementary skills. Emily’s wonderful with character and dialogue and psychology and I’ve been writing screenplays for the last 20 years so I come at it from the film storytelling side.”

Ikin says the story has appeal for younger audiences, as well as featuring an exciting young cast, “it’s a mirror to that very provocative and exhilarating time in everyone’s life where you are exploring who you will become. I hope younger people will see the characters in the film as being truthful examples of that experience.

For older audiences, “there’s a lot of pleasure in looking back and recognizing those moments of awkwardness and wrong-footedness, and the mistakes you’ve made, which in hindsight can be viewed with the humour of recognition.”

7 ABOUT THE NOVEL & AUTHOR

The Rehearsal is Eleanor Catton’s debut novel, published by VUP In New Zealand in 2008, before her Man Booker Award-winning opus, The Luminaries, launched her into global fame. The novel was also published in the UK, USA and Canada, and in several other languages (including Chinese, Czech, Dutch, Finnish, French, German, Italian, Hebrew, Norwegian, Portuguese and Swedish).

The Rehearsal is described as “a startling novel, striking and strange and brave. (Louise O’Brien, the Listener). It is at once a tender evocation of its young protagonists and a shrewd exposé of emotional compromise.”

Justine Jordan in said: “This astonishing debut novel from young New Zealander Eleanor Catton is a cause for surprise and celebration: smart, playful and self-possessed, it has the glitter and mystery of the true literary original. Though its impulses and methods can only be called experimental, the prose is so arresting, the storytelling so seductive, that wherever the book falls open it's near-impossible to put down.”

Catton was recognized as a talent to watch. The Rehearsal won the Montana New Zealand Book Award for Best First Book of Fiction, the Adam Award in Creative Writing, the UK Society of Authors' Betty Trask Award, and the Canada First Novel Award It was longlisted for the Orange Prize, and was shortlisted for the Guardian First Book Award and the Prix Médicis étranger.

Eleanor Catton was born in 1985 in Canada and grew up in Canterbury. She has an MA in Creative Writing from Victoria University of and an MFA from the Iowa Writers’ Workshop. The Luminaries is Catton’s second novel, published in 2013, and was the 2013 winner of the Man Booker Award. She lives in .

8 QUOTES FROM ELEANOR CATTON ABOUT THE FILM

What do you love about the film? I loved the attitude and humour of the direction. It's such a difficult thing to capture the fragility and bravado of young artists without either mocking them, on the one hand, or sentimentalising them, on the other, but I think the film achieved that delicate balance brilliantly.

How does the film differ from the book? I knew from reading an early draft of the script, and from visiting the set a couple of times, that the film would depart from the book in particulars, but I trusted absolutely in Alison's vision and expertise, and didn't feel any desire to meddle. Film and narrative fiction are such different forms-- each can do things that the other can't, and each is constrained in ways that the other isn't-- and 'faithfulness', whatever that means, is not always what you want in an adaptation. Borges has a remark somewhere about an original that in his opinion was unfaithful to the translation. I like that. I hope that my book is faithful to the film.

After visiting the set last year, I wrote to Emily Perkins trying to explain how I felt seeing the book adapted for the screen: "It's kind of like having twins and raising one twin yourself (the novel) and giving up the the other one for adoption (the film), and then meeting the adopted twin later in life and seeing all sorts of uncanny similarities with the twin you raised yourself but also all sorts of uncanny differences, but more than that, all sorts of uncanny revelations into what kind of a parent you are and how you could have been different. And of course the adopted twin doesn't see you as a parent except for in a distant and theoretical sense. So it's a cool experience but it also feels exposing in an unexpected way." Now that I've seen the film, though, I think I'd like to revise that already tortured metaphor a bit further: I feel less like the film's birth mother than its grandmother, or maybe its maternal aunt. We're related, but we belong to different generations, and we've lived different lives. Favourite performances? It's hard to pick a favourite performance. Kerry Fox was electric! I'm so excited to see what both James Rolleston and Ella Edward do next-- they are two brilliant actors, so fresh and so real. I wish them all the very best and I know their stars will rise and rise.

9

ABOUT THE PRODUCTION

Bridget Ikin and Alison Maclean, 1982. Photo

Bridget Ikin says this project has its origins in the past working relationship between herself and Alison Maclean and their decades-long desire to collaborate on another film together.

“We’ve already worked together three times: the drama Talkback, the short film Kitchen Sink and Alison’s first feature, Crush. Ever since Alison moved to New York in 1992, we’ve been hankering to work together again. I was really thrilled when Alison said out of the blue: ‘I’ve just read The Rehearsal, which I think is really fascinating.’ I was in Paris at the time and I rushed out and was rather surprised to find that I could buy the book there, so read it straightaway and loved it.”

Alison Maclean: “I discovered the book through an American writer friend who was up for an award with Eleanor. I’d been looking for some material that would bring me back to New Zealand so the book provided a happy opportunity.”

It was 2012, while Catton was writing her epic The Luminaries, before the Man Booker prize thrust her onto the international stage.

Maclean says Catton was a perfect author to work with: “She gave us her blessing. I was a little nervous about showing her the script but I needn’t have

10 been. She read it with a generous spirit and was open to it being a very different piece from the book.”

Ikin says The Rehearsal is an ideal film for Maclean: “Alison Maclean is the perfect director for this film because she’s intrigued by the fluidity of identity, the way in which power and powerlessness are central to our sense of ourselves, and the significance of performance in our lives. All of these themes are explored in The Rehearsal.”

Kerry Fox: “Alison is very skilled and experienced and she works really well with actors. She understands that different actors require different parts of her in order to support them, and she gives them the opportunity to deliver their best. She’s very open to ideas and inspiration and willing to try different things. And yet she also very clearly knows the content of what she wants, so as an actor you feel very safe.”

For Fox, The Rehearsal was also a homecoming: “There were elements of this film that were part of my past – it’s produced by Bridget Ikin, who produced An Angel at My Table. To work with her again is something I’ve always wanted.

“I had never worked with Alison although we’d been friends, so it just all came together for me. I’m also friends with Emily Perkins - we were at drama school together and we saw a lot of each other in . So I’m basically working with my friends and people I might want to be friends, like Eleanor.”

Alice Englert (Thomasin) reflects the rest of the young cast when she says, “I wanted to do this film because I really liked Alison and I trusted that she would do something that was real and curious and interesting.

“I’ve always been attracted to the process of making drama and I think it’s really interesting to explore that part of what acting is and what storytelling is. When I read the script, there was something I couldn’t let go of about it. It had a special tone and I was really charmed by the world of the story. And I believed it.”

Rachel House, who is also an actor and theatre director, says: “The big attraction for me about this film was to work with Alison Maclean. I’d been a fan of hers for some time – she’s a very strong, fantastic female director – and I really wanted to work with her.

“Reading the script just completely blew me away. I thought it was very rich, had a lot of depth and really showed that masochistic side to the performing arts, the world we live in. I think that’s a fascinating subject.” 11

Producer Trevor Haysom, who also associate produced Alison’s first feature Crush found there was a lot of support for this project from a number of quarters. “It was a exceptional line-up, Alison directing with Bridget producing, co-written and adapted by Emily Perkins from Eleanor Catton’s first novel!”

For Kirsty Cameron, who worked as both production designer and co-costume designer (with Charlotte Rust) it was “a no-brainer, really. I had long admired Alison as a filmmaker and the idea of working with her felt really exciting. I also wanted to work with Bridget Ikin, who I’d admired for a very long time for the work she has done over the last 30 years.”

Director of photography Andrew Commis says: “I was a huge fan of Alison’s previous films, particularly Jesus’ Son. I just loved the idea of shooting an Alison Maclean film. She has such fantastic taste and I would have said yes even if I hadn’t read the script, and because it was developed from Eleanor Catton’s novel was a bonus for me.”

The Rehearsal was filmed in Auckland, largely on the campus of the Performing Arts School at Unitec in Mt Albert. It was a venue that related to the story – filming a drama school at a drama school – and provided the perfect environment of co-operation with the filming process, right through to having the production’s headquarters in a vacant building on site.

Haysom was struck by the support that Unitec offered considering it was a working tertiary institution. “It was a big ask from us given that it was close to their end of year, but I think both parties greatly benefited from the experience, perhaps us a little more”.

Kerry Fox said at the time: “We are shooting here at Unitec which is a drama school and so for those of us who went to drama school, it’s bringing up all these horrific memories of the torture, torment and turmoil of being at drama school. To be working within the real environment makes things a lot easier - I don’t have to imagine, or help the audience create the idea that this is a drama school. It’s a wise move on the producers’ part.”

Cameron says Unitec was a major contributor to the flavour and the look of the film: “Shooting at Unitec offered us an enormous wealth in terms of the layers of the look of the film. Being there influenced the story in some ways and we’ve incorporated some specific ideas into the dialogue as well as the way that Hannah and the students exist in the school. So we’ve taken on some of Unitec’s truths as well as the wonderful props and weird things that you

12 wouldn’t think of - like the boogie boxes that are drilled into the floor in the studios.”

Maclean has nothing but praise for Cameron’s design: “Kirsty has a wonderful sensiblity and she really cares about detail. Her work comes strongly from story and character.

“There are a lot of neutral spaces at the drama school, and the kids wear black, too, so there’s a certain blankness which draws your eye to their faces. But now and then the colour really pops.

“A key repeated scene in the script is set in a pink room. One day Kirsty was offered a storage room at Unitec and there it was! A giant windowless pink room – so unlikely and so right.”

“Director of photography Andrew Commis and I decided on the widescreen format as a perfect way of showing groups and bodies in space. We’re interested in the edges of frames, not always having everything close up and centre. And we wanted to allow room for spontaneity so that meant shooting our frames a little wider.

“I love working with off-screen space, with what’s happening just outside the frame. For instance, there’s a scene where Isolde and Victoria are watching TV and their mother dips into frame to kiss them good-bye, and that’s all we see of her. So the parents aren’t fully introduced as characters until Stanley meets them for the first time at the barbecue.

“There are a number of scenes where an important character is out of frame for some time, so you can hear but not see them. So as a viewer you have to enter the space of the film in a more imaginative way. It’s not literally all there onscreen, it’s about what’s excluded and what you have to imagine.”

Also, there’s a number of scenes where an important character is out of the frame, so you can hear them but not see them. It means as a viewer you have to enter into the space of the film in a more imaginative way. It’s not literally all there in the frame, it’s about what’s excluded and what you have to imagine.”

Commis says: “The style - or anti-style - is partly informed by the ordinary and mundane. The characters’ universe is inherently interesting, so we've tried to convey something aesthetically interesting drawn from that.

“Often that’s done through our wide screen composition, Kirsty Cameron's 13 design, and with light. Working together they help create odd juxtapositions, and - hopefully - uncover curious beauty in the seemingly ordinary.”

Before the shoot started, there was a rehearsal period for the young cast, in which Rachel House and Alison Maclean conducted what House describes as a “pressure-cooker drama school just for a week with the 15 young actors in Stanley’s (James Rolleston’s) class. It was absolutely fantastic: they played lots of games, trust exercises and improvisation and got to know each other.

“Then in the final couple of days Kerry Fox walked into the room in character as Hannah, the director of the school, and it was just completely terrifying. It was quite wonderful - that moment where you know everything comes together where the story really starts to lift off.”

Maclean says the two-week rehearsal period was crucial for her as director: “That was the most intimidating part of the whole production for me, when I really felt outside of my comfort zone.

“It’s ironic that I wanted to make a film about the acting process because that’s the aspect of film making I’ve always found the most challenging. I’ve wanted to go deeper into it just to get better at it.”

Alice Englert: “I think the rehearsal period for The Rehearsal was very much parallel to the actual narrative of the film and it definitely felt like that. It was surrounded by that golden glow of the first weeks of being part of an institute, but actually making a film about the acting process is extremely different from studying it.

“Once rehearsal finished and filming started, it no longer felt in any way like a drama school. You have to pay respect to the crew and pay respect to the process of actually making a film.”

Maclean says she relished the opportunity to work with such a diverse and creative group of young actors and her observations of their ways of interacting influenced her approach to the film.

“This isn’t a nostalgia piece, so it’s not my experience of my twenties. I wanted it to be an intimate, authentic experience of what it’s like to be a young person in New Zealand now.”

She recognises that music is really important for young people and she researched contemporary New Zealand music for the soundtrack.

14 “I’m really excited about the soundtrack – it’s such an eclectic group of original musicians. I listened to a lot of new NZ music and kept getting drawn to Connan Mockasin because he offered something unique for this film.

“His music is very atmospheric and cinematic. His songs have so many different moods and he gets under your skin at the first listening. In the end, we’ve included a selection of his songs and he’s composed some new pieces for the film. He’s a perfect match for the emotional tone of the film, especially at the end, where the music has to carry so much”.

15 CREATIVE TEAM – ABOUT THE CAST

JAMES ROLLESTON Stanley

James Rolleston’s first film was Boy (2010), ’s box office smash hit. As an 11-year-old he gave a performance that resulted in the Best Actor nomination at the NZ Film & TV Awards and remains a firm favourite in the hearts and minds of New Zealand audiences.

His most recent film is Pork Pie - the Matt Murphy-directed remake of ’s iconic Goodbye Pork Pie – in which he stars with Dean O’Gorman.

Rolleston starred with Lawrence Makoare in box office hit The Dead Lands directed by Toa Fraser, which had its World Premiere at Toronto International Film Festival and for which he was again nominated for Best Actor at the NZ Film & TV Awards (2014).

At the same awards he won Best Supporting Actor for his work alongside in the critically acclaimed The Dark Horse, written and directed by James Napier Robertson, which premiered at the NZ Film Festival 2014 and won Best Film Award at Seattle and Audience Awards at San Francisco, Palm Springs and Rotterdam film festivals.

Rolleston also starred in the short film Frosty Man and the BMX Kid (2010), directed by Tim McLachan and the Australian short film Man, directed by Richard Hughes, which screened in the 2014 Sydney Film Festival.

His tribal affiliations include Ngāi Te Rangi, Ngāti Whakaue, Ngāti Porou, Tūhoe, Whakatōhea and Tainui. He is very proud of his Māori heritage but also acknowledges with pride his Spanish, English and Scottish heritage.

16 KERRY FOX Hannah

Kerry Fox is one of New Zealand’s most internationally respected and awarded actors.

She has recently starred in a number of 2015 Australian features: ’s The Dressmaker alongside Kate Winslet, Judy Davis, Hugo Weaving and Liam Hemsworth; Neil Armfield’s Holding The Man alongside Guy Pearce and Anthony LaPaglia; and Grant Scicluna’s Downriver . And in Ireland, she’s starred in Terry McMahon’s critically acclaimed Patrick’s Day.

Her body of work includes ’s An Angel At My Table for which she was awarded the NZ Film Award for Best Actress, the San Sebastian Film Festival Award for Best Actress and the Elvira Notari Award for Best Performance; ’s The Last Days Of Chez Nous which earned her the Asia-Pacific Film Festival Award for Best Supporting Actress; and Patrice Chereau’s Intimacy, which saw her win the Silver Bear Best Actress Award at the Film Festival.

She has also starred in Tom Harper’s War Book, Iain Softley’s Trap For Cinderella, Andrew Adamson’s Mister Pip, PJ Hogan’s Mental alongside Toni Collette, Danny Boyle’s Shallow Grave, Michael Winterbottom’s Welcome To Sarajevo, The Sound Of One Hand Clapping, Country Life, The Gathering, The Hanging Garden, Storm, Jane Campion’s Bright Star, Juan Carlos Fresnadillo’s Intruders and Jonathan Teplitzsky’s Burning Man.

Kerry has appeared in numerous productions for the BBC, ITV and Channel 4 in the UK including National Treasure, The Crimson Field, Glue, Sex And Violence, A Village Affair, Saigon Baby, Déjá Vu, Walking The Dead and Trial And Retributionand for HBO in the telemovie The Affair. In 2010, she starred in Rowan Joffe’s BAFTA Award winning telemovie The Shooting Of Thomas Hurndall and in 2011, appeared as Oriel Lamb in the groundbreaking television series Cloudstreet based on the novel by Tim Winton.

She trained at The New Zealand Drama School and is an accomplished theatre actress having appeared on stage in Wellington, Sydney and London. More recently, she performed in Andrew Bovell’s Speaking In Tongues at London’s Duke of York’s Theatre and Noel Coward’s The Vortex at the Rose Theatre.

17 ALICE ENGLERT Thomasin

Alice Englert first appeared at age 11 in her mother, Jane Campion’s short feature Water Diary, which screened at Cannes in 2006 as part of a project for the UN. Since then, from the age of 16, Alice has worked as an actress in both lead and supporting roles in a variety of feature films and miniseries.

Alice’s film credits include Singularity opposite Josh Hartnett, Jeremy Lovering’s In Fear (including singing on its soundtrack), and 's Ginger And Rosa alongside for which she was nominated for best supporting actress at the BIFA AWARDS in 2012. She also appeared in the novel adaptation Beautiful Creatures; a supernatural family drama for Warner Bros alongside Jeremy Irons, Emma Thompson and Viola Davis. For this she also wrote and sang a song on the soundtrack.

In television Alice has appeared in the mini-series New Worlds alongside Jamie Dornan as well as the mini-series Jonathan Strange & Mr Norrell with Eddie Marsan and Bertie Carvel, directed by Toby Haynes for the BBC.

Her first writing-directing work, a seven-minute short film, The Boyfriend Game, was selected to screen at the 2015 Toronto International Film Festival.

ELLA EDWARD Isolde

A newcomer to film, young Aucklander Ella Edward has so far worked in television and theatre. Her television work includes Denk nur an uns Beide, a German tele-feature; she played Young Cara in US series Legend of the Seeker and was in Power Rangers RPM, direcged by Vanessa Alexander.

KIERAN CHARNOCK William

The role of William in The Rehearsal is Kieran Charnock’s biggest role to date. He has played small parts in Slow West, the western shot in New Zealand, and the television series When We Go To War, directed by Peter Burger.

He writes, directs and edits short films (Writers, Field of Asphodel)

18 MICHELLE NY Frankie

Michelle Ny’s most recent role is as Sophie in Chronesthesia, an independent Wellington feature directed by Hayden Weal. She played Moneka Kawai in Reservoir Hill and Reservoir Hill: Everyone Lies, directed by Thomas Robins and David Stubbs, the TV series that won Best Digital Programme – Children and Young People at the International 2010.

She has appeared in short films Guest, Attic and Number One, television commercials and several theatre productions. She graduated with a Bachelor of Performing Arts from NZ Drama School Toi Whakaari in 2012.

SCOTTY COTTER Oscar

Scotty Cotter’s first acting job was as a child in In My Father’s Den. He went on to perform in plays at Howick College, where he was Auckland Schools Theatresports Champion for four consecutive years. He then worked with Massive Theatre Company, followed by a substantial ongoing theatre career.

His television work includes tele-features Nights in the Gardens of Spain, directed by Katie Wolfe, based on the novel; Purapurawhetu, directed by and Michael Bennett, and Nga Reo Hou – The Prophet, directed by and Tammy Davis.

He has also had roles in TV series Orange Roughies, Shortland Street, The Jacquie Brown Diaries, Brown Brothaz and Whanau.

19 MARLON WILLIAMS Theo

Marlon Williams is an award-winning singer-songwriter and guitarist from Lyttelton, New Zealand. His music style straddles folk, country, soul, bluegrass and the blues. The Rehearsal is his first acting role.

Born in of Ngāi Tahu descent, he was educated at Christchurch Boys' High School and was a member of the choir of the Cathedral of the Blessed Sacrament. At 17, he founded his first group, The Unfaithful Ways and quickly gained national attention in New Zealand, picking up a Critics Choice award nomination at the 2011 New Zealand Music Awards for their debut album ‘Free Rein’.

Williams and released three volumes of the series, ‘Sad But True: The Secret History Of Songwriting’, garnering critical acclaim, including the New Zealand Country Song and Country Album of the year in 2013. Their ‘Sad But True Volume III’ was a finalist for Recorded Music NZ Best Country Music Album 2015,

At the 2015 NZ Music Awards, he won Best Male Solo Artist and Breakthrough Artist of the Year for his critically acclaimed debut solo album, Marlon Williams. He was also nominated for Best Blues and Roots Album at this years' ARIA Awards in and in NZ for the APRA Silver Scroll Award for his solo release ‘Dark Child’.

Williams, who has been based in since 2013, recently performed with Paul Kelly, Lucinda Williams and Kasey Chambers in Australia. He now has a demanding international touring schedule.

20 CREATIVE TEAM – ABOUT THE FILMMAKERS

ALISON MACLEAN Director and writer

New Zealand/Canadian Alison Maclean emigrated to New Zealand as a teenager, and later attended Elam Art School in Auckland. On her first job, as a production assistant on 's Vigil, she met producer Bridget Ikin, with whom she would collaborate on a number of short films. These began with Taunt (1983), an experimental film scripted, shot, edited and directed by Maclean in her final year at Elam.

In 1987 the duo collaborated on 48-minute drama Talkback (1987), about the unusual relationship between a woman forced to become a late-night radio host (Lucy Sheehan), and a sometimes antagonistic caller (Peter Tait). Talkback was the first of two consecutive Maclean-directed films to take away the Listener award for best local short.

Short film Kitchen Sink, a surreal suburban nightmare, burst onto the international scene with the same impact as the hairy monster from the plughole in the film. Starring Theresa Healey, it debuted In Competition at Cannes in 1989 and has won eight international awards. Arguably the most successful short film to come from NZ, it later screened as part of a ‘best of' Sundance retrospective at UCLA's Hammer Museum. It continues to be cited as a favourite short film by filmmakers and audiences worldwide.

Maclean's debut feature, Crush (1992), produced by Ikin and starring American Marcia Gay Harden, was also invited to play In Competition at Cannes - the only debut feature in competition that year. The film won praise from a range of critics; Moving Pictures International editor Nick Roddick called it an "extraordinary debut feature".

Maclean moved to New York in 1992. After several years developing projects, she made her second feature, Jesus' Son (1999), starring Billy Crudup and Samantha Morton. Jesus' Son won the Baby Lion and OCIC Catholic Awards at the Venice Film Festival; The New York Times, Times and critic Roger Ebert all rated it one of the 10 best films of the year.

In 2004, Maclean made the documentary Persons of Interest, a series of interviews with New York Arabs and Muslims detained on immigration charges after September 11th. Co-directed with Tobias Perse, the film was selected for Sundance and the International Human Rights Watch Festival.

21 Her TV work includes directing episodes of Sex and the City, Gossip Girl, Carnivale, The L-Word, Homicide: Life on the Street, Michael: Tuesdays and Thursdays and The Tudors.

Maclean has continued to direct shorts including Intolerable, starring David Rakoff (2006) and The Professor (2012), based on a Lydia Davis story. She also directs TV commercials and music videos, including Torn for Natalie Imbruglia.

EMILY PERKINS Co-Writer

The Rehearsal is author Emily Perkins’ first screenplay. In another new move, she has also written her first play, an updated Henrik Ibsen’s ‘A Doll’s House’ set in contemporary New Zealand.

She left school to act in the TVNZ drama Open House, and then trained at the New Zealand Drama School. In 1993 she studied creative writing in ’s class at Victoria University.

The success of her first collection of stories, Not Her Real Name and Other Stories, established her early on as an important writer of her generation. It was shortlisted for the NZ Book Award and won the Best First Book (Fiction) Award and the Geoffrey Faber Memorial Prize.

She was the 2006 Buddle Findlay Sargeson Fellow, and she used the fellowship to work on her book, Novel About My Wife, published in 2008, which won the Montana Medal for Fiction at the 2009 Montana NZ Book Awards. Perkins' novels include Leave Before You Go, The New Girl, which was shortlisted for the John Llewellyn Rhys Prize, Novel About My Wife, which won the 2009 Montana Book Awards and the Believer Book Award, and The Forrests.

In 1994, she moved to London, then in 2005 she returned to Auckland, where she was employed by both the as a creative writing tutor and AUT University as a lecturer. She also hosted TVNZ’s book programme The Good Word.

Perkins is an Arts Foundation of New Zealand Laureate Award winner (2011). She now lives in Wellington, where she is a Senior Lecturer at the Victoria University of Wellington International Institute of Modern Letters.

22

BRIDGET IKIN Producer

Bridget Ikin has worked as an independent producer for many years, in both New Zealand and Australia. She works across feature films, short drama, documentary, and more recently artists’ moving image installations, winning awards in many countries for her productions.

Together with John Smithson, she most recently produced Sherpa (2015, dir. Jen Peedom), nominated for a BAFTA Award and winner of the Grierson Award for Best Documentary, at the 2015 BFI London Film Festival.

Feature film productions include: An Angel At My Table (Silver Lion, Venice Film Festival 1990 amongst many awards); Alison Maclean’s short Kitchen Sink (In Competition, Cannes, 1989) and Crush (In Competition, Cannes, 1992); Clara Law’s Floating Life (Silver Leopard, Locarno, 1996); ’s Look Both Ways (AFI Awards for Best Film; FIPRESCI Award Brisbane Film Festival; Discovery Award TIFF 2005); and My Year Without Sex (2009).

She’s produced two landmark documentary series on Aboriginal art, Art + Soul (presenter Hetti Perkins; dir. and Steven McGregor).

She’s also been Executive Producer on a number of films, including The Rocket (dir. Kim Morduant, 2013 - Best Feature Tribeca FF; Best First Feature Berlin FF, Audience Award Sydney FF), The Tracker, 2002 (dir. ) and Australian Rules, 2002.

Recently, Bridget and her partner John Maynard have established Felix Media, a production company working with artists on exceptional original moving image projects for cinema and gallery presentation. Through this company, she’s produced several moving image projects - for artists Angelica Mesiti, William Yang, and Hossein Valamanesh.

23

TREVOR HAYSOM Producer

Twenty five years after their first film together - Crush - Trevor Haysom has teamed up with Maclean and Ikin to co-produce The Rehearsal.

A wide and versatile career both in NZ film and television industries, his first production was a documentary for NZ television Every Dancers Dream, directed by Gregor Nicholas (Silver Plaque, 20th International Chicago Film Festival).

He continued to produce documentaries for Television New Zealand's ‘Work of Art’ series; Visible Evidence on New Zealand social documentary photographers; Pacific,3,2,1 Zero a music performance (winner 'Croissette d’Or', 1994 MIDEM Music Festival Cannes); , Portrait of a Photographer, on the acclaimed New Zealand artist photographer

Trevor developed the NZ/UK coproduction In My Father’s Den, Brad McGann’s first feature film (FIPRESCI PRIZE, TIFF 2004; Youth Jury Award, San Sebastian Film Festival 2004; it became the 7th highest grossing NZ film at the NZ box office.)

Trevor then produced two features, After The Waterfall (HOF 2010) for debut director Simone Horrocks and the UK/NZ co-production Tracker, (TIFF 2010) starring Ray Winstone and Temuera Morrison.

Recently he teamed with Richard Fletcher to produce the New Zealand sequences of Walking with Dinosaur - BBC Earth/Evergreen Films production.

Trevor is currently developing feature film projects in Auckland.

24 ANDREW COMMIS ACS Director of Photography

Award winning cinematographer Andrew Commis has completed a number of recent feature films. The Daughter, directed by Simon Stone and starring Geoffrey Rush, was officially selected for the 2015 Venice and Toronto Film Festivals. Girl Asleep, originally a children’s play, directed by Rosemary Myers was officially selected for the 2016 Berlin Film Festival and won the Audience Award for Best Feature at the 2015 .

Andrew’s previously photographed The Rocket, (dir. Kim Mordaunt), winner of the Crystal Bear, 2013 Berlin Film Festival, Best Feature Film, 2013 Tribeca Film Festival, and Best Feature Film at the 2014 Film Critics Circle of Australia (FCCA) Awards.

Andrew’s debut feature film Beautiful Kate (dir. Rachel Ward), premiered at Toronto Film Festival, 2010 and received the prestigious Milli Award from the Australian Cinematographers Society (ACS) for Cinematographer of the Year. The film won the 2009 Inside Film (IF) award for Best Cinematography.

Andrew shot two ‘chapters’ of the screen adaptation of Tim Winton’s book of short stories The Turning, ’s Boner McPharlin’s Moll and David Wenham’s Commission starring Hugo Weaving. Premiering at the 2013 Melbourne International Film Festival and selected for the 2014 Berlin Film Festival, The Turning received Best Feature Film nominations at the 2014 AACTA and 2013 Asia Pacific Screen Awards.

Television credits include the Emmy and BAFTA nominated /AACTA award- winning television series The Slap in 2011. Andrew received the ACS Award of Distinction for his work on the 2015 AACTA winning television series Devil’s Playground. Other credits include the telefeatures Underground (dir. Robert Connolly), and Mabo (dir. ).

25 KIRSTY CAMERON Production and Costume Designer

Kirsty Cameron is an award-winning costume designer and production designer. She was production designer on the acclaimed The Weight of Elephants (Daniel Borgman) and The Price of Milk (Harry Sinclair).

She won New Zealand Film Award’s best costume design for , directed by . She also won NZ best costume design for her work on Perfect Creature, Glenn Standring’s vampire feature. She was nominated for best production design on The Weight of Elephants, best costume design on Love Birds and In My Father’s Den.

Her recent work includes costume design for TV movie Jean, directed by Robert Sarkies, Slow West, the Michael Fassbender starrer filmed in New Zealand’s ; for director Tusi Tamasese’s acclaimed The Orator, which won best film at Venice Film Festival in 2011 and best film at the New Zealand Film Awards in 2012; the award-winning In My Father’s Den, directed by Brad McGann and the award-winning Rain, directed by Christine Jeffs. Her other feature films as costume designer include Love Birds, After The Waterfall, The Hopes & Dreams of Gazza Snell and The Strength of Water as well as TV movies Field Punishment No 1 and Pirates of the Airwaves.

JONNO WOODFORD-ROBINSON Editor

Jonno Woodford-Robinson worked with Michael Horton to edit Lee Tamahori’s Mahana, and was one of the editors on the award-winning What We Do in the Shadows, Taika Waititi and ’s box-office hit. He also worked with Waititi on his earlier film .

He edited Beyond The Known World, the feature directed by Pan Nalin shot in India starring David Wenham, Emmanuelle Beart and Chelsie Preston Crayford.

Other credits include Hope and Wire, ’s post-Christchurch earthquake TV drama series; 3-Mile Limit, the story of the Radio Hauraki pirates; Tom Scott’s tele-feature Rage; Predicament, Jason Stutter’s adaptation of the Ronald Hugh Morrieson novel; the Jason Stutter comedy Tongan Ninja; and Romeo and Juliet a Love Song, the musical set in a caravan park

He has also worked on documentaries such as the environmental film The Last Ocean by Peter Young, which has recently been touring film festivals.

26 CONNAN MOCKASIN Composer

Connan Hosford, better known by the stage name Connan Mockasin, has been described by The Guardian as a “psych-funk oddity” and his music as a convergence of jazz, blues, funk and psychedelic.

He grew up in the coastal village of Te Awanga in Hawkes Bay, where he showed his musical talent early. In Wellington in 2003, he formed Connan and the Mockasins, establishing a following in New Zealand before moving to London in 2006.

In 2008, he formed a solo career under the new name Connan Mockasin, releasing his first album in 2010: ‘Forever Dolphin Love’, which was shortlisted for the . His second album, ‘Caramel’, was recorded in a hotel room and released in 2013. Tracks from these albums are sprinkled through The Rehearsal, as are newly-composed tracks written for the film.

He composed the track ‘Out of Touch’ and has collaborated with her on other songs. He supported on their Australasian tour in 2012. He is known for highly creative, artistic music videos, which rate highly on YouTube.

The score for The Rehearsal is his first for a film.

27 ABOUT THE PRODUCTION COMPANIES

Hibiscus Films

Hibiscus Films is Bridget Ikin’s production company, initially established in New Zealand, then later in Australia, where she now lives.

A consistent thread through her more than 30 years of producing, is Bridget’s preference to collaborate with writers and directors exploring personal material via original and distinctive stories. She’s particularly drawn to telling stories by and for women.

Her films include the BAFTA-nominated Sherpa, 2015 (dir. Jen Peedom), Jane Campion’s An Angel At My Table, Sarah Watt’s Look Both Ways and My Year Without Sex, Alison Maclean’s previous films (Talkback, Kitchen Sink, Crush).

She also produces occasional exceptional moving image works for artists, including for Angelica Mesiti and Hossein Valamanesh, through her affiliated company Felix Media, in association with her partner John Maynard.

Her films are distributed in Australasia by John Maynard’s Footprint Films.

THE Film

THE Film was set up in 1992 primarily to produce art documentaries, feature and short films as well as identifying and developing New Zealand emerging screen talent.

Positioning itself as a feature film company, it gained international experience with co-productions In My Father’s Den and Tracker. It has also acted as executive producer on several film and TV projects including the break-through TV animation series bro’Town based on the Polynesian theatre group The Naked Samoans, and Jonathan King’s Under the Mountain featuring Sam Neil.

THE Film continues to develop a diverse slate of projects including Now is the Hour, a heroic NZ war story set in German-occupied Crete 1943 and Wounded, the story of a forbidden friendship between a man and a woman from warring cultures.

28 CREDITS

Hibiscus Films and THE Film present in association with the New Zealand Film Commission Based on the novel by Eleanor Catton THE REHEARSAL Directed by ALISON MACLEAN Screenplay by ALISON MACLEAN & EMILY PERKINS Produced by BRIDGET IKIN & TREVOR HAYSOM Executive Producers LANCE ACORD JACKIE BISBEE SAM BISBEE VICTOR CARSON DAVID GROSS JOHN MAYNARD

JAMES ROLLESTON KERRY FOX ALICE ENGLERT ELLA EDWARD

Casting by TINA CLEARY & MIRANDA RIVERS, THE CASTING COMPANY Director of Photography ANDREW COMMIS ACS Production Designer KIRSTY CAMERON Editor JONNO WOODFORD-ROBINSON Sound Designer DICK READE Composer CONNAN MOCKASIN

Cast in order of appearance Livia MIRANDA HARCOURT Michael COHEN HOLLOWAY Thomasin ALICE ENGLERT William KIERAN CHARNOCK Clea JAMIE CURRY Oscar SCOTTY COTTER Sam SAMUEL GOODGER Marnie BRYONY SKILLINGTON Kara ELLA HOPE-HIGGINSON Adam ADAM ROHE Luca LUCA NICHOLAS

29 Theo MARLON WILLIAMS Hannah KERRY FOX Rewia RACHEL HOUSE Selina ROBYN PATERSON Drunk in bar MARK PETERSEN Newsreader MELISSA STOKES Dog MAISIE Theo's lover ANDREY SUKOMLINOV Paul JASON FITCH Naomi TANDI WRIGHT Tennis Girls SARAH NESSIA Tennis Girls TIMMIE CAMERON Julia MAYA WYATT Stanley's Dad MARK RUKA Waitress CECILIA FRI MUELLER Demetri ANTON KOUKINE Stephen STEPHEN LOVATT Joan CELIA NICHOLSON Mason PETER TAIT Fiona MICHAELA ROONEY

Line Producer DESRAY ARMSTRONG 1st Assistant Director ANNA GUNDESEN On Set Coach RACHEL HOUSE Hair & Makeup Designer DANNELLE SATHERLEY Additional Editor SCOTT GRAY Music Supervisor TIM BERN LEVEL TWO MUSIC

Design Co-ordinator ABIGAIL GREENWOOD Art Director DEIRDRE McKESSAR On-set Art Director / Standby ALEXANDRA TURNER Standby Assistant JACK CRAYFORD Design Runner / Assistant ROSIE REMMERSWAAL Buyer / Dresser GIM BON Additional Art Director ROSIE GUTHRIE Additional Buyers / Dressers SARAH BAILEY-HARPER Additional Buyers / Dressers PENNY KERR ROSS GUTHRIE BRANT FRASER STELLA MAYNARD Graphic Design ELECTRA SINCLAIR

30 SUE MERCER Carpenters ERIC BOYLE RYAN O'CONNELL Scenic TROY STEPHENS Casual Art Assistants ROY JAMIESON BRENDAN WELCH Co-Costume Designer CHARLOTTE RUST Costume Standby ANNA VOON Costume Assistant AMBER RHODES Costume Buyer KYLIE COOKE Makeup & Hair SOPHY PHILLIPS Additional Makeup TAMARA EYRE AMY McLENNAN DEANNA HIGHSTEAD-JONES JACINTA DRIVER Script Supervisor ANANDA KIENTZ 2nd Assistant Director SOPHIE CALVER 3rd Assistant Director TARITA BAQUIE Chaperone / Additional 3rd Assistant Director LYNN HARGREAVES On Set Production Intern PHUONG TRAN Additional 3rd Assistant Directors ANDREW BURFIELD ANT DAVIES KATE HARGREAVES Tennis Consultant JOSEPH O'SULLIVAN Music Consultant ADAM-LUKA TURJAK Choreography ALYX DUNCAN Extras Casting BGT ACTORS, MODELS & TALENT KAM TALENT Production Co-ordinator REBECCA ROWE Production Secretary SALLY CUNNINGHAM Production Assistant MARLEY HANSEN Additional Production Assistant MICHAEL ROBINS Director / Producer's Assistant STELLA MAYNARD Director's Intern ALYX DUNCAN 1st Assistant Camera KIRSTEN GREEN 2nd Assistant Camera DUSTY MILLAR Camera Trainee LEWIS GARLAND Onset Digital Image Technican CHRISTIAN GOWER 2nd Camera Operator DARRYL WARD Steadicam Operator ALEX McDONALD

31 1st Assistant Camera - B Camera DUSTY MILLAR 2nd Assistant Camera - B Camera DECLAN COOKE 2nd Assistant Camera - B Camera KIM THOMAS RICHARD ELWORTHY Additional 1st Assistant Camera GRAHAM MacFARLANE Additional 2nd Assistant Camera LAETITIA BELEN Additional Camera Trainee SAM TOMS Sound Recordist FRED ENHOLMER Boom Operator SANDY WAKEFIELD Additional Sound Recordist MYK FARMER Additional Boom Operators KATIE PATERSON STEVEN HARRIS Gaffer JOHN BELL Best Boy CHRIS 'ROCCO' McCALLISTER Generator Operator AIDAN SANDERS Additional Lighting Technicians PAUL ABBOTT LAUTARO GARABELLO Key Grip EVAN PARDINGTON Best Boy Grip NICK CHESTER Additional Grips TIM WATSON MIKE 'BONES' CONEY PEZ ZEE Location Manager SALLY SHERRATT Location Scout ROBIN MURPHY Location Production Assistants DYLAN TRACEY SANDANI WIJETUNGE Additional Location Scouts BRETT HIGGINSON JONATHAN EGDELL Swing Captains GARY HENDRICKX NEIL ASKEW Swing Drivers SHAUN GUILBERT PETER NEHEMIA ANNA LOW RIKI MANUKAU RUTH HENDRICKX MIKE ARANUI Tech Guards TOM CLYDE GRANT MOFFITT Unit Manager DON 'NOD' ANDERSON Unit Assistants MARCO MAJORANA

32 NICKI TREMAIN Additional Unit Assistants MATT RAMSEY MANU TOKO Stunt Co-ordinator MARK HARRIS Safety Supervisor ROB 'GIBBO' GIBSON Additional On Set Medic PAUL ULENBERG Stills Photographer MATTHEW KLITSCHER Unit Publicist SUE MAY EPK Camera DONNY DUNCAN Post Production Script FIONA BARTLETT Catering LUSCIOUS CATERING Insurance APEX INSURANCE DARRIN MADGWICK Travel Agent SOUNDS TRAVEL LTD Security PLATFORM 4 GROUP Production Accountant MELANIE HAMMOND Post Production Accountant PHIL GORE Post Production Co-ordinators MAREENA KING ANNA RANDALL Camera Equipment IMAGEZONE DEFINITION NZ Grip Equipment GRIP SOLUTIONS Lighting Equipment LIGHTSPEED Assembly Editor CUSHLA DILLON Assistant Editor KERRI ROGGIO D. I. Post Production Facility RPM PICTURES, Auckland PETER BARRETT, PETER ROBERTS Post Production Equipment DEFINITION NZ Head of Post Production DAVID GROSS Colourist BILLY WYCHGEL Assistant Editor WAYNE C. BLAIR Visual Effects Compositor JONNO WOODFORD-ROBINSON Digital Intermediate Supervisor PETER BARRETT Titles Designer ZOE IKIN Sound Post Facility READE AUDIO Dialogue Editors COLLEEN BRENNAN DICK READE Foley Mixer AMY BARBER Foley Artist JONATHAN BRUCE Supervising FX / Foley Editors AMY BARBER & JONATHAN BRUCE Foley Artist & Assistant Sound Editor BEN PARKER

33 Assistant Sound Editor RICHARD WILLS ADR Studios READE AUDIO, Auckland TRACKDOWN STUDIOS, Sydney NATIVE AUDIO, Auckland UNDERGROUND SOUND STUDIOS, Wellington HACKENBACKER, London Loop Group ROB HARPER, BRENDAN CLARKE MARK SOLE, KENT WHARERAU MUNA ARBON, BECKY DACK ASHLEIGH HOOK, ASHA HAINES Sound re-recorded at PARK ROAD POST PRODUCTION, Wellington Re-recording Mixer TIM CHAPRONIERE Chief Executive Officer CAMERON HARLAND Head of Production DEAN WATKINS Sound Manager NIGEL SCOTT Sound Producer AMANDA HEATLEY Additional Music CAM BALLANTYNE Music Producer & Editor CAM BALLANTYNE Musicians CONNAN MOCKASIN JAMES MILNE FINN SCHOLES Music Recording ROUNDHEAD STUDIOS Music Mixer, The Lab OLLY HARMER Legals EMERY LEGAL MATT EMERY Completion Guaranty FILM FINANCES, INC. ANNI BROWNING Auditor GRANT THORNTON KERRY PRICE for Hibiscus Films: Production Management BETHANY BRUCE DONNA CHANG Production Assistant MIA TIMPANO Accountant LEAH HALL for ANZ Bank of New Zealand Limited SCOTT FERGUSON BEN ADAMS Collection Account Management FINTAGE CAM B.V

34 Unitec Institute of Technology, and specifically the Department of Performing and Screen Arts

Developed with the assistance of Screen Australia

Financed in association with ANZ Bank of New Zealand Limited

The filmmakers acknowledge the assistance of the New Zealand Government's Screen Production Grant

In association with Park Pictures Media Partners Definition NZ Limited Film Buff Pty Ltd

International sales by Mongrel Media

Filmed in Auckland, Aotearoa New Zealand

© 2016 REHEARSAL FILMS LIMITED

35