G19

NZ Commission Annual Report 2009 G19

Contents Report of the Highlights...... 2 Chair’s introduction...... 4 From the Chief Executive...... 5

Goal 1: To create significant cultural capital with quality Film Commission New Zealand ...... 6

Goal 2: To build a talent pathway...... 10

Goal 3: To maximize the domestic profile of NZ films for the year ended 30 June 2009 and the NZ public’s access to them...... 14

In accordance with Sections 150 Goal 4: To maintain a high international profile to 157 of the Crown Entities for New Zealand films and filmmakers...... 18

Act 2004, on behalf of the Goal 5: To maintain strong stakeholder relationships...... 22 New Zealand Film Commission we present the Annual Report Goal 6: To maintain standards of good covering the activities of the governance, business practice and accountability...... 24 NZFC for the 12 months ended 30 June, 2009. Statement of Responsibility...... 28 Financial Statements...... 29 Statement of Service Performance...... 48 Audit Report...... 51 Appendix...... 52

Patsy Reddy Bill Birnie Chair Deputy Chairman

PO Box 11-546 www.nzfilm.co.nz

Funded by the New Zealand Government through the Ministry for Culture and Heritage and by the Lottery Grants Board NZ FILM COMMISSION ANNUAL REPORT 08/09

The NZFC committed production The most popular new domestic Maori Television licensed 56 NZ Film organized New Zealand’s financing to 7 new feature films cinematic release in the period, NZFC financed short films for the 30th consecutive participation at and 9 short films during the The Topp Twins: Untouchable Girls, television series Iti Pounamu. the with financial year. It also supported attracted an audience of 177,000, a high-profile sales and Highlights the completion of 9 digital making a total of seven NZFC- marketing office. Twenty-four features. financed features in the last four New Zealand filmmakers and 44 NZFC short films were years with cinema audiences two New Zealand distributors licensed to NZONSCREEN for of more than 100,000. It is the were based in the NZ Film office. streaming on their website. highest grossing documentary The NZFC provided strategic, feature ever to screen logistical and financial support theatrically in New Zealand. in the form of prints and The NZFC financed short film The NZFC organised screenings advertising grants for the six The Six Dollar Fifty Man had its of New Zealand feature films at new features with NZFC world premiere at the 2009 65 international film festivals investment released in Box office hit Sione’s Wedding was Cannes Film Festival, winning (previous year 55) and screenings New Zealand cinemas during the most viewed NZ feature film the ‘Special Distinction’ award. of New Zealand short films in 120 the year. broadcast for the period. The film festivals (114 previous year). had a prime time Friday night screening in December on TV3 NZFC continued to provide and attracted an audience of Second-Hand Wedding continued administrative services for the 300,450. The 2008 International its successful domestic Government’s Large Budget Film Festival in September cinematic run into the 08/09 Screen Production Grant featured the world premiere year and became the most Scheme. During the year a total screening of Dean Spanley and popular New Zealand feature of The NZFC completed digitisation of nine grants were approved. the North American premiere 2008. After 36 weeks it had of 31 of the 65 New Zealand of Apron Strings. attracted more than 188,000 features ear-marked for archival people with a box office of more restoration and digitization over NZFC took on the responsibility than $1.91M. the next two financial years. Nine of administrator for the of these titles were subsequently The Strength of Water screened Government’s new Screen released as part of Screenline’s in competition in the VPRO Production Incentive Fund NZ Cinema Collection. Tiger Awards at the Rotterdam (SPIF) in its inaugural year. Film festival. The film was A sub-committee of the NZFC also selected for the Generation was established to consider selection of the Berlin Film NZFC staff set up a YouTube applications. It met 8 times Festival. channel to house one minute in the period. clips of the latest NZFC short films.

2 Highlights 3 NZ FILM COMMISSION ANNUAL REPORT 08/09

Chair’s Introduction From the Chief Executive Patsy Reddy, October 2009 Graeme Mason, October 2009

I am pleased to introduce The period is bracketed by two of While I was only in That film’s performance was a Seven productions were offered our most popular recent films: at the fitting wrap up to the NZFC’s 30th financing totalling $12 million this annual report beginning, Second Hand Wedding, which the position of Chief anniversary year. The year saw resulting in $27 million of production which marks a year carried over its success from the Executive for a few numerous developments not least spend. Six new films were released of increased activity previous financial year to finish with months of the financial the introduction of the Screen in cinemas around the country. Four nearly 190,000 theatrical viewers and Production Incentive Fund (SPIF) which more features have appeared since by the New Zealand a strong DVD launch, and at the end year covered by this changed the dynamics of financing the end of the financial year under Film Commission and with The Topp Twins: Untouchable Girls report my arrival luckily New Zealand films and which has review and a further five films which continued success for which was seen by 177,000 people and coincided with the already been used successfully by were in production during the 08/09 is New Zealand’s most successful ever several producers to get new projects financial year will be released in 2010. New Zealand films at theatrical documentary. terrific debut of the Topp into production. It also involved the Further financing offers are out to six the local box office. Twins; Untouchable NZFC, as administrator of the SPIF, projects many of which will soon be in I would like to pay tribute to the in implementing new processes and production. previous Chair, Dr David Cullwick Girls. That film forming new investment guidelines and the other board members whose Finally, I want to pay tribute to the smashed records and for NZFC co-investment in SPIF terms ended in June 2009: Vanessa Deputy Chief Executive, Mladen won the hearts of funded films. Alexander, Wendy Palmer and Shane Ivancic, and the staff who helped Simpson. David Cullwick left the New Zealanders. In In its ongoing review of effectiveness achieve many of these results in the six organisation in good shape and, doing that it exemplified the NZFC implemented an independent month period between the departure leading the other board members, the goals of the NZFC review of its sales and marketing of the previous CEO Dr Ruth Harley and strongly contributed to the growth of activities. At the time of writing the my arrival. They and I look forward to the past year. in creating cultural Ministerial review of the NZFC, led by continuing the Commission’s work with capital which reflects the Peter Jackson and David Court has yet the whole film industry. As with all organisations, the NZFC to report. We are looking forward to needs constantly to evaluate its breadth of New Zealand this. After 30 years it is fitting that the effectiveness in fulfilling its goals. In talent and stories NZFC be evaluated and it’s important that regard the Board looks forward and ensuring that that the wide range of stakeholders to the findings of the review currently who have been consulted are heard in being led by Peter Jackson and any New Zealanders get this process. recommendations that may come to see their cinematic from it. stories on screen. Yet while these are notable, the core work of the NZFC in financing and promoting New Zealand films continued. Graeme Mason, Chief Executive

Patsy Reddy, Chair

4 Introduction 5 NZ FILM COMMISSION ANNUAL REPORT 08/09

Goal 1 To create significant Feature Film Predicament Falling Angels I’m Not Harry Jenson (aka production Producer: Sue Rogers, Vincent Burke, Producers: Angela Littlejohn, Rachel The Devil's Run) Novel Productions Ltd. Gardner Writer/Director: James Napier Robertson cultural capital with quality In the year under review, the NZFC Director/Writer: Jason Stutter Director/Writer: Scott Reynolds committed production financing to 7 new Producer: Tom Hern The NZFC committed finance in December feature films, with total expenditure of The NZFC committed conditional A true crime novelist obsessed with his 2008 for this film based on the Ronald New Zealand films $12,405,485 (Previous year: $20,718,614 investment towards the production of latest book and convinced he is losing his Hugh Morrieson novel of the same name. for 12 features). It also supported the this feature in February 2009. The film mind takes a trip to the forest to recover, Principal photography commenced in July completion of 9 digital features. is a thriller based around the seeming but ends up with a fellow traveller dead and 2009 in South Taranaki. disappearance of an eight year old girl. blood on his hands. Home By Christmas Rialto will be the New Zealand distributor. Metropolis Films will be the New Zealand International sales are handled by NZ Film. distributor. Lost in Wonderland Producers: , Sue Rogers, NZFC’s most important Doublehead Films Ltd Latido Films represents the : Zoe McIntosh Boy (previously titled The internationally. goal is maintaining the Director/Writer: Gaylene Preston Producer: Costa Botes Volcano) momentum of culturally A film memoir by acclaimed director Brother Number One Lost in Wonderland is a documentary about specific quality feature Gaylene Preston based around her father Producers: Ainsley Gardner, , cross-dressing lawyer Rob Moodie who Ed Preston’s war-time adventures. It Emanuel Michael, The Volcano Company Producers: Annie Goldson, James Bellamy, takes on cases involving high-level injustice film production for stars Martin Henderson and Tony Barry. Ltd Rob Hamill which threaten to crush ordinary people. New Zealand audiences. Metropolis will be the distributor in Director/Writer: Director: Annie Goldson The Man in the Hat To ensure at least 4 New Zealand. The film is likely to release This is Taika Waititi’s second feature film The NZFC committed conditional nationwide in April 2010. and is inspired by his Oscar nominated investment for the production of this Writer/Director: Luit Bieringa feature films are produced documentary feature in June 2009. The International sales are handled by NZ Film. short film Two Cars One Night. Principal Producer: Jan Bieringa each year, the NZFC photography commenced on the East Cape film tells the story of Olympian and trans- After the Waterfall in April 2009. Atlantic rowing champion Rob Hamill’s A documentary about Peter McLeavey, one allocates the majority journey to in mid-2009 to seek of New Zealand’s outstanding art dealers Transmission will be the New Zealand of its annual budget to Producer: Trevor Haysom, Paraffin justice for his brother who was tortured and who has spent some 40 years running his Productions Ltd. distributor. murdered by the regime of Pol Pot in 1978. gallery in the centre of Wellington. feature film production. Director/Writer: Simone Horrocks International sales are handled by NZ Film. Gil Scrine will be the New Zealand The Map Reader The NZFC made a conditional offer of Hopes & Dreams distributor. majority production finance for this debut Writer/ Director: Harold Brodie feature in December 2008. Based on Producer: Robin Scholes Post-production finance for Producer: John Davies the novel The Paraffin Child by Stephen Director: Brendan Donovan nine digital features Sixteen year old Michael escapes the Blanchard, the story is a drama set around Writers: Brendan Donovan and David realities of his small town New Zealand the disappearance of a child in a small The NZFC provided post-production grants Brechin-Smith life by immersing himself within a world of town. Principal photography commenced to assist with the completion of nine digital maps. Yet his seemingly happy isolation is in April 2009. Production of this debut feature is features (six of them documentaries) which scheduled for November 2009. It is a family were selected for screening at the 2009 broken by the serendipitous arrival of two Rialto will be the New Zealand distributor. drama set in the world of go-kart racing in New Zealand Film Festivals or elsewhere. young women into his life. International sales are handled by NZ Film. Howick. No Petrol, No Diesel! Rialto will be the New Zealand distributor. - Camera on International sales are handled by NZ Film. the Shore Writer/Director: Stefen Harris Director: Graeme Tuckett Producer: John Davies Producer: Anne Keating Drama about a small town on State Highway 1 where nothing ever happens, yet A documentary on the works and one of the biggest corporations in the world philosophy of New Zealand’s first Maori is determined to buy a dowdy back street feature film maker. gas station.

6 GOAL 1 Cultural Capital 7 NZ FILM COMMISSION ANNUAL REPORT 08/09

Taking the Waewae Express Te Paepae Ataata Other tutors in attendance were Pita Turei, Project-based workshop attendance Short films with NZFC Kath Akuhata Brown, Chelsea Winstanley, • IndiVision: Tearepa Kahi w/d A Gift to Zion Writer/Director: Andrea Bosshard, Te Paepae Ataata is a three year devolved Christina Milligan and Poata Eruera. In finance with Maori key • Women in the Director’s Chair: Paula Shane Loader NZFC funded initiative whose principal addition to Merata Mita and Tainui Stephens Whetu Jones w/d This Little Light creatives Producer: Andrea Bosshard, Shane purpose is to nurture Maori feature the Paepae was represented by Ainsley Hitched – director Katie Wolfe Loader, Deane Cronin film-making. Its intention is to enable the Gardiner, Tearepa Kahi and Renee Mark • Rewrite Workshop: Rob Mokoraka co- development of scripts towards production (administrator). In all workshops and writer Strange Resting Places The Medal – writer Simon Paniora, director A drama about a young man whose readiness. The resulting films may be discussions the aim was to encourage James Barr brother dies in a car accident, following • First Writers Initiative: Kylie Meehan, modest or ambitious, but they will reflect uniquely personal films that remain viable which blame and bitterness take their Tim Worrall The Winter Boy – writer Kylie Meehan, the indigenous cinema aspirations of this and marketable to an international audience. toll as love and loyalty are tested within • eQuinoxe script workshop (Munich): Tim director , producer Hineani country: big-screen stories that tell of the his circle of friends and family. Maori experience as tangata whenua of Nga Aho Whakaari Worrall (Piki Whara) New Zealand, and as citizens of the world. • Binger Filmlab: Gregory King Bird - director Jane Shearer The Third Richard The NZFC continues to help fund the This year two scripts selected by Te Paepae activities of Nga Aho Whakaari . Post-production funding Short Film Fund with Maori Director: Danny Mulheron & Sara Ataata, The Pa Boys by Himiona Grace and Stretton • No Petrol, No Diesel! – w/d Stefen Harris Executive Producers Flashes Before My Eyes by Tamati Patuwai Wairoa Maori Film Festival Producer: Sara Stretton were the central focus of a 3-day wananga Kura Shorts - Quinton Hita, Tearepa Kahi held in November at Waipapa Marae, The NZFC was the sponsor of this festival NZFC support for Maori Danny Mulheron discovers the life and (focused on developing and supporting University. Thirteen other writers held in May 2009. work of his grandfather Richard Fuchs, producers in 2008/9 Maori personnel in key roles, especially (including those who had submitted a a composer whose work was banned by those of writer, director, and producer). feature film script to Te Paepae Ataata but Production funding the Nazis and who fled to New Zealand, NZFC support for Maori who had not been shortlisted and writers only to be interned as an enemy alien. writers and/or directors in • Boy (aka The Volcano) – producers Ainsley Short films with Maori key who had completed a first draft of a feature Gardiner and Cliff Curtis 2008/9 creatives awarded NZFC This Way of Life film script but had not yet submitted to the Paepae) participated in a number Development funding Post-Production Finance Director: Tom Burstyn of workshops covering all aspects of Production funding: • Behind the Tattooed Face – producer Rena Kehua - director/writer, Wiremu Grace, Producer: Barbara Sumner Burstyn screenwriting and being a screenwriter: • Boy (aka The Volcano) – writer/director Owen Taika Waititi producer Libby Hakaraia A documentary set against the rugged • Merata Mita from the Paepae gave an • Boy (aka The Volcano) – producers Ainsley Mokopuna - director/writer Ainsley Ruahine mountains where Peter and introduction to screenwriting, the roles Gardiner & Cliff Curtis Development funding: Gardiner Colleen Karena train wild horses and of the screen writer, the script assessor • Cousins – producer Rhonda Kite and the producer and approaches to • Behind the Tattooed Face – writer Rena hunt while raising their six children to be Owen • The Fox Boy – producer Cliff Curtis SIPF projects with key independent and courageous. writing korero tuku iho/ tupuna rongonui stories (i.e. the epic stories) • Boy (aka The Volcano) – writer/director • A Gift to Zion – producer Quinton Hita creatives identifying • Michael Bennett presented his own Taika Waititi • Moana – producers Cliff Curtis, Merata themselves as Maori Maori Film Strategy personal case study of going from first • Cousins – writer Patricia Grace Mita, Kara Paewai Developing Maori story telling and story to second draft with Matariki and how the Ngatahi Know the Links Part Six - Dean • A Gift to Zion – writer/director Tearepa Project-based workshop attendance tellers is fundamental to the NZFC’s script is still changing even at production Kahi Hapeta purpose. The NZFC welcomes the stage • Rewrite workshop: Cliff Curtis, Merata • Hell for Breakfast – writer Briar Rua - Garth Watene (Whairoa Productions) increasing number of Maori filmmakers Mita, Kara Paewai producers Moana • Briar Grace-Smith discussed craft Grace-Smith Notes from a Harmonious Life - Rangimoana who are building successful careers (NB these producers did not attend the (dialogue, structure, pace, momentum, Taylor (Community Media Trust) in the industry and is committed energy, character, writer tools) using • Land of Tears – writer/director Taika workshop in person) to continuing to support them. In visuals. Waititi • IndiVision: Quinton Hita producer A Gift recognition of the need to expand and • Ngamaru Raerino and Tainui Stephens • Marshal – writer Glenn Standring to Zion develop the base of Maori filmmaking (from the Paepae) talked about epic • This Little Light – writer/director Paula talent, the NZFC has continued to focus kaupapa and tikanga. Whetu Jones on initiatives which address: Selected scenes from the two chosen • The development of Maori talent and screenplays were then shot and analysed. projects • The cultural integrity of films with Maori content • Industry infrastructure support for Maori filmmakers.

8 GOAL 1 Cultural Capital 9 NZ FILM COMMISSION ANNUAL REPORT 08/09

GOAL 2/ To build a talent Feature Film Professional No Borders, New York Te Paepae Ataata Writers’ Development Development – September Hui – November This partnership offers New Zealand The NZFC supported a writers’ hui, held in pathway In the year under review three Initiatives producers an opportunity to participate Auckland, which focussed on two scripts companies were supported by a Devolved (Additional training initiatives were run by in the annual market organized by the selected for development, with additional Development Fund. Three producers Independent Feature Project in New York. script workshops to identify and nurture made successful applications for organizations supported by the NZFC and these are listed under Goal 5) The New Zealand projects selected to writers of scripts that may be eligible for Producer Overhead Funds (POF) and attend with NZFC support were Belinda’s support from Te Paepae Ataata in 2009. another two were offered a one year Eurista Tasmania – July Notes (producer Michele Fantl, writer/ extension to an existing POF. Two writers director Dorthe Scheffman) and The Most IndiVision – November were offered a Writer Award. NZFC assisted two producer/writer Fun You Can Have Dying (producer Alex Cole- The Staff Committee under the Chief teams to attend a residential script Baker, writer/director Kirstin Marcon). This is a development initiative for low In order to nurture and Executive’s delegated authority made analysis workshop designed and run by budget feature films conducted by Screen 41 commitments for early development international development company Eurista Binger Film Lab – September/ Australia. NZFC assisted Tearepa Kahi and support the creative Quinton Hita to attend with their project finance from a total of 64 applications. in association with Screen Tasmania. The March teams and individuals The total commitment in this first chosen teams were David White and Shane A Gift to Zion. on which the NZ film tier category was $643,802. In the Mannell with Crime Story and Rhys Cain and New Zealand writer/director Gregory previous year, early development for 38 Scott Boswell with Death or Milton. King took part in a five-month script Women in the Director’s industry depends, the NZFC projects was approved from a total of development programme at the Maurits Chair – December/January continued to invest in 46 applications with a commitment of Accelerator, Melbourne – July Binger Film Institute in Amsterdam. $725,500. This Canadian programme offered the short films, feature films in The NZFC continued its support for opportunity for a New Zealand woman Seven additional development eQuinoxe, Germany – October development, professional this development programme for short director with a feature film in development commitments totaling $80,129 were filmmakers whose films have been eQuinoxe, a long running European script to attend two residential workshops in development and initiatives provided by Chief Executive delegation. selected for screening at the Melbourne workshop, partnered with NZFC to offer a Banff, Canada. NZFC assisted Paula Whetu aimed at developing In the previous year there were twelve Film Festival. Michelle Savill with Betty place to New Zealand writer Tim Worrall. Jones to attend with her feature project delegated commitments at a cost of Banned Sweets, Katie Wolfe with This Is Her He attended the workshop in Bavaria with This Little Light. and supporting Maori $168,000. and Leo Woodhead with Cargo took part his project Piki Whara. filmmakers. Development Committee approved with NZFC assistance. CineMart & Rotterdam Lab funding for 14 projects from a total of 18 Smashing the Window - – January applications. The total for this second-tier 1st Writers Initiative Distribution Seminar finance was $366,632. In the previous – September A partnership with CineMart enables a year the committee provided funding for – October project to participate in this financing 12 projects from a total of 17 applications Six writers who have not previously NZFC invited both local and international market in Rotterdam and assists three at a cost of $294,567. received NZFC funding were selected to guests to give the local industry an insight producers to attend the Rotterdam Lab. The The Board made six offers of advanced participate in this annual feature film script into strategies that are emerging to project Boy (aka The Volcano) was selected development finance with a total cost of development workshop organized by the deal with the challenges confronting the by CineMart and producer Cliff Curtis $197,260, in comparison with seven offers NZFC in Wellington. The workshop was traditional distribution model. International received assistance to attend. The three at a cost of $373,320 in the previous year. led by Australian script consultant Claire speakers included Brian Chirls (US), Andy Lab participants were Catherine Fitzgerald, Dobbin and the other tutors were Michael Freedman (UK) and Jason Janego (US). Robin Murphy and Matt Noonan. Bennett, Christina Milligan and Caroline Grose. Guest speakers were Riwia Brown, SPAAmart, Australia Berlin Talent Campus Dave Gibson, Briar Grace-Smith, Tearepa – February Kahi and John Reid. – November The NZFC continued its partnership in this The NZFC assisted with the costs of travel event that enables up to three New Zealand to enable two New Zealanders – producer producer/director teams to present their Vicky Pope and composer Steven Gallagher projects to international distributors and - to participate in this course for emerging buyers. The NZ participants this year filmmakers, which is part of the Berlin were: Leanne Saunders with Amatu, Arani International Film Festival. Cuthbert and Chris Dudman with One of Us and James Heyward with Capsized.

10 GOAL 2 Talent Pathway 11 NZ FILM COMMISSION ANNUAL REPORT 08/09

Wowing the Buyers – Rob Ritchie ‘Writing for the After a review of the fund which took Four shorts screened before feature films Domestic Short Film Sales place in 2008, the NZFC and Creative in the festivals: Noise Control, Take 3, Cargo Distribution Seminar - Big Screen’ – April New Zealand changed the name of SIPF to and Journey To Ihipa (writer Vicki-Anne Maori Television licensed 56 short films for March Following the popularity of this workshop the Independent Filmmaker’s Fund (IFF), Heikell, director , producer the television series Iti Pounamu for free when it was held in Wellington in 2008, and increased the $25,000 funding cap. Makerita Urale). television rights in New Zealand. Rialto Following on from Smashing the Window, Channel licensed 10 titles for pay tv rights the NZFC contracted Rob Ritchie to repeat Senior filmmakers became eligible to apply The NZFC-financed This Is Her (writer this second NZFC-run distribution in New Zealand. Visual Learning licensed 11 it this year in Auckland. The workshop for a higher level of funding with a cap of Kate McDermott, director Katie Wolfe, seminar focussed on how to position a short films for an educational dvd license is aimed at those who have written $70,000, with emerging artists eligible producers Rachel Lorimer and Felicity film to achieve buyer interest in overseas in New Zealand. Huia NZ licensed three in other dramatic media, particularly to apply for grants of up to $30,000. Letcher) won the Friends of the Civic Best territories. Participating speakers were Maori short films for dvd rights for use as theatre. Fifteen people participated in the Part of the target of producing nine short Short Film at the 2008 Auckland Film Gordon Adam (Metropolis/NZ agent a Wharekura resource in New Zealand. workshop. films is for 40% of short films to achieve Festival. for Hopscotch), James Brown (Head 44 titles were licensed to NZONSCREEN selection in an A-list Film Festival including of Acquisitions, Metrodome UK), Carl for streaming in their entirety from their the New Zealand International Film Hampe (independent producer and film Short Film Production Show Me Shorts website. The Film Shop licensed 16 short consultant, LA), Jane Schoettle (senior Festival. Following this is an account of The NZFC committed finance for the Nature’s Way, Noise Control, Betty Banned films for sale via The Film Shop website international programmer and selector, local presentation of shorts. International production of nine short films. The films Sweets, The Trophy and Take 3 were selected on DVD. Toronto International Film Festival) festival performance is listed under Goal 4 were commissioned from more than 300 for Show Me Shorts Film Festival 2008. and Ray Strache (Vice President of (Page 20). proposals by three groups of executive Noise Control won Best Film Award and Acquisitions, Twentieth Century Fox, LA). producers, to whom the NZFC delegated Take 3 won the Atlab Best Technical the process of selecting short film projects. Domestic Festivals Contribution prize. ACE – March Details of the commissioning groups and NZFC participation in ACE (Atelier the nine short films are in the Appendix on New Zealand International Magma Short Film Festival du Cinéma Européen), a European page 54. Film Festival Sixteen NZFC short films were selected for Producers’ Network, became possible In June 2009, the NZFC extended the the annual Magma Short Film Festival in after the funding guidelines of the Nine short films financed by the NZFC were contracts for the three 2008/2009 short Rotorua. Aphrodite's Farm, Patu Ihu, Bridge, MEDIA arm of the EU changed to allow selected for the Homegrown programme film executive producer groups for a second This is Her, The Road Out of Town, Canaries in the inclusion of non-EC participants. in the 2008 New Zealand International year (2009/2010): Colour, Careful with that Axe, Betty Banned was selected to attend Film Festivals. Eight were funded by the Big Shorts (Vicky Pope and Robert Sarkies), Sweets, The Trophy, Noise Control, Take 3, ACE’s week long project development Short Film Fund and Cargo was funded Kura Shorts (Quinton Hita and Tearepa The Graffiti of Mr Tupaia, Coffee and Allah, workshop with Heavenly Choir. via the Post Production Fund: This Is Her Kahi) and Robber’s Dog Shorts (Mark (writer Kate McDermott, director Katie Cargo, Lethal Innocents, Clean Linen. Rewrite Workshop – April Foster, Adam Stevens, Kristian Eek). Wolfe, producers Rachel Lorimer and This Is Her was awarded Best Film in the The NZFC continued to support the Screen Felicity Letcher) , Patu Ihu (writer Warren funded category, with The Graffiti of Mr. This annual NZFC-funded workshop, Innovation Production Fund (SIPF), a Beazley, director Summer Agnew, producer Tupaia, Noise Control and Take 3 receiving led by Claire Dobbin, took place in partnership with Creative New Zealand Angela Littlejohn), Coffee & Allah (writer/ a Highly Commended. Auckland in April. The other tutors which is designed to support a range of producer Shuchi Kothari, director Sima were British scriptwriter Rob Ritchie, moving image projects with an emphasis Urale, producer Sarina Pearson), Take 3 Manukau Film Festival American scriptwriter Wendall Thomas on innovation, uniqueness and emerging (writer/director Roseanne Liang, producer Seven NZFC short films were selected for and New Zealand producer Philippa talent. A total of 33 project grants were Owen Hughes), The Road Out of Town the inaugural Manukau Film Festival in Campbell. The workshop is for four made by the Fund, to which the NZFC (writer/directors Adam Luxton and Jeremy Auckland; The Trophy, Hawaikii, O Tamaiti, teams working on projects in advanced contributed $350,000 and Creative Dumble, producer Richard Collins), The Taua, The Speaker, Two Cars, One Night, The development, and for the first time New Zealand $250,000. The grants are Graffiti of Mr Tupaia(writer Paul Stanley King Boys. Screen Australia partnered to send a listed in the Appendix on page 55. Ward, director Christopher Dudman, producer/writer team. The three NZ producer Vicky Pope), Aphrodite’s Farm teams were Catherine Fitzgerald & (writers Pete Force and Adam Strange, Gillian Ashurst (Almost A Million), Nik director Adam Strange, producer Anzak Beachman & (Moana), Fraser Tindall), Bridge (writer/director Jochen Brown, Rob Mokoraka & Paolo Rotondo Fitzherbert, producers Zane Holmes, (Strange Resting Places). Ashley Stuart Coupland) and Cargo (writer/ director Leo Woodhead, producer Vanessa Alexander).

12 GOAL 2 Talent Pathway 13 NZ FILM COMMISSION ANNUAL REPORT 08/09

GOAL 3/ To maximize the domestic profile of NZ films and the NZ public’s access to them

NZFC exists so that Feature Films/ The Topp Twins: Untouchable Dean Spanley Rain of the Children New Zealand cinema Domestic Release Girls Director: Toa Fraser Writer/Director: Vincent Ward audiences have the Director: Producers: Matthew Metcalfe, Alan Harris Producers: Vincent Ward, Marg Slater, The NZFC provided strategic, logistical Writer: Alan Sharp Tainui Stephens opportunity to view local and financial support in the form of prints Producer: Arani Cuthbert After receiving substantial New Zealand and advertising grants for the six new Rialto Distribution began the New Zealand Executive Producers: Simon Fawcett, films. The domestic market media coverage from its world premiere in features with NZFC investment released theatrical release in April 2009. The release Finola Dwyer, David Parfitt, Alan Sharp the Film Festival, the film attracted a is small, and NZFC support in New Zealand cinemas during the year. was assisted by a prints and advertising Paramount/Transmission began the full house (including 300 Tuhoe ) in the Civic One feature (Second-Hand Wedding) grant from the NZFC. Launched on 48 is necessary to ensure New Zealand theatrical release of this Theatre for its New Zealand premiere at the continued its run from the previous screens, the film was in the NZ box office feature (an official co-production between 2008 Auckland Film Festival. The theatrical that local feature films financial year. top-ten list for the first nine weeks of its the United Kingdom and New Zealand) in release by Rialto began in September after are visible alongside high The most popular new release, The Topp release, which was seen by 177,000 people February 2009 on 33 screens. With a grant with a box office of over $1.8 million. It is screenings in 14 more New Zealand film profile international films. Twins: Untouchable Girls, attracted 177,000 from the NZFC to assist with prints and festival locations. With a grant from the people, making a total of seven NZFC- the highest grossing documentary ever to advertising costs, the film opened in fourth screen theatrically in New Zealand. NZFC to assist with prints and advertising financed features in the last four years position in the box office charts. Its release costs, the film opened in tenth position in the with cinema audiences of more than was seen by 40,900 people with a box office box office charts. Its release was seen by 100,000. of $415,000. 37,200 people with a box office of $377,656. The DVD release generated sales of 1,903 Second-Hand Wedding units by 30 June 2009. Director: Paul Murphy Producers: Nigel Stanford, Paul Murphy Writers: Nick Ward, Linda Niccol Executive Producer: Kerry Robins Metropolis Film began the New Zealand theatrical release of this debut feature in May 2008, on 55 screens. The NZFC provided a grant to assist with the cost of prints and advertising. The film became the most popular New Zealand feature of 2008. After 36 weeks it had attracted more than 188,000 people with a box office of more than $1.91million. The DVD release generated sales of 12,952 units by 30 June 2009.

14 GOAL 3 Domestic Profile 15 NZ FILM COMMISSION ANNUAL REPORT 08/09

Apron Strings Show of Hands Rubbings From A Live Man New Zealand television TVNZ broadcast two other features in Short Film Web Presence late-night slots in May: Perfect Strangers Writer/Director: Anthony McCarten Director: Florian Habicht Director: Sima Urale broadcasts (director and screenplay Gaylene Preston, 44 titles were licensed to NZONSCREEN Producers: Angela Littlejohn and Rachel Producer: Philippa Campbell Producers: Rachel Gardner, Angela NZ box office hit Sione’s Wedding (director producers Robin Laing, Gaylene Preston) for streaming in their entirety from their Gardner Littlejohn This documentary feature about artist Chris Graham; writers James Griffin & attracted an audience of 91,910; and Rain website. The films were: About Face series: A Fitting Tribute, Danny and Raewyn, Jewel’s Writers: Shuchi Kothari, Dianne Taylor Executive Producer: Trevor Haysom Warwick Broadhead’s life was selected for ; producers John Barnett, (director and screenplay Christine Jeffs, its world premiere at the 2008 Auckland Chloe Smith) was the most viewed NZ producer Philippa Campbell) attracted an Darl, Lamb of God, My First Suit, Return Executive Producer: Trevor Haysom Rialto Distribution began the New Zealand Film Festival. Arkles Entertainment began feature film broadcast for the period. audience of 27,630. Journey, Universal Drive; Bitch, Decaff, Delf, theatrical release of this feature in DSB, E Tipu E Rea Series: Eel, Roimata,Te This debut feature was selected for a small theatrical release of this feature The film had a prime time Friday night Three New Zealand features broadcast November 2008 on 43 screens. With a grant Moemoea/The Dream, Thunderbox, Variations its world premiere at opening night of in November. With a grant from the NZFC screening in December on TV3 and over a four-month period by Maori from the NZFC to assist with prints and on a Theme; Egg and Bomb, Ends Meet, the 2008 Auckland Film Festival. The to assist with prints and advertising costs, attracted an audience of 300,450. TV3 also Television attracted a total audience of advertising costs, the film opened in ninth Footage (aka Fetish), Forgotten Silver (clips theatrical release by Rialto began in the film was seen by 900 people with a box screened River Queen (director Vincent 33,900 with the most popular title being position in the box office charts. Its release only), Home Movie, Mananui, The Murder August after screenings in 14 more office of $9,800. Ward, writers Vincent Ward & Toa Fraser; the 1993 feature Desperate Remedies was seen by 9,200 people with a box office House, Olives, O Tamaiti, Permanent Wave, New Zealand film festival locations. producers Don Reynolds (NZ), Chris Auty (directors and writers , Stewart of $93,215. The DVD release has generated Portrait of a Photographer, Assisted by a grant from the NZFC for (UK)) in February attracting an audience of Main, producer James Wallace, associate sales of 1,343 units by 30 June 2009. Plain Tastes, Planet Man, Playing Possum, prints and advertising costs, the film 177,650 and Once Were Warriors (director producer Trishia Downie) which was viewed Prickle, Shoes, Signing Off, Snap, Sure To opened in seventh position in the box Lee Tamahori, screenplay Riwia Brown, by more than 16,000 people. office charts. Its release was seen producer Robin Scholes) in June to an Rise, Te Po Uriuri/The Enveloping Night, The by 25,600 people with a box office of audience of 230,070. Digitisation Baker’s Brother, The Grocer’s Apprentice, The $259,613. The DVD has generated sales Mighty Civic, The Minute, The Singing Trophy, Two other features also screened on TV3 in of 1,778 units by 30 June 2009. The NZFC completed digitisation of 31 of The Summer the Queen Came, The Wall, late night slots. In March Spooked (director the 65 New Zealand features ear-marked Walk Short. and screenplay , producers for archival restoration and digitization over NZFC staff set up a YouTube channel to Geoff Murphy, Don Reynolds, Merata Mita, the next two financial years. Nine of these house one-minute clips of the latest NZFC Geoff Dixon) broadcast to an audience of titles were subsequently released as part of short films. 80,020 and in July For Good (director and Screenline’s NZ Cinema Collection. screenplay Stuart McKenzie, producer Neil Pardington) broadcast to an audience of 60,430. On Christmas Day, TVNZ screened both (Writer/Director Niki Caro; Producers Tim Sanders, John Barnett, Frank Hubner) to an audience of 217,200 and The World’s Fastest Indian (writer/ director Roger Donaldson, producers Gary Hannam, Roger Donaldson) to an audience of 152,240.

16 GOAL 3 Domestic Profile 17 NZ FILM COMMISSION ANNUAL REPORT 08/09

GOAL 4/ American Film Market NZ Film’s Cannes participation succeeded In October the film also screened at Korea’s International in delivering: Pusan International Film Festival and at To maintain a high international NZ Film participated for the nineteenth • A well-attended breakfast seminar the International Eurasia Film Festival in Marketing consecutive year at the American Film on Filming in NZ co-hosted with Film Turkey. In the US the film has screened at Market in November. Five features were profile for New Zealand films Participation at six major international New Zealand. This seminar gave NZ the Palm Springs, Portland and Cleveland screened for international distributors: film events for the marketing and sales of producers an opportunity to discuss Film Festivals. The film screened in Apron Strings, Dean Spanley, Rain of the New Zealand films was organised by the potential co-productions with producers March at Norway’s Kosmorama Trondeim and filmmakers Children, Second-Hand Wedding and Show of NZFC’s sales agency arm, NZ Film. The from around the world; Film Festival and in Israel as part of the direct cost of these events was $203,712 Hands. Another seven new features were Tel Aviv New Zealand Retrospective. In excluding sales costs covered by NZ Film. promoted. Participating were the Head of • Networking opportunities for the April it screened as part of the Singapore (Previous year $181,702 for six events). Sales and Marketing, the Head of Business participating New Zealand filmmakers, International Film Festival. Affairs and Development Executive Timothy who met international producers, The NZFC organised screenings of For the US release, NZ Film negotiated O’Brien. financiers and distributors; NZ feature films at 65 international a deal with Miramax. A strong international The NZFC has identified film festivals (previous year 55) and • Successful positioning of new films screenings of short films in 120 festivals Rotterdam Film Festival with key distributors, and agreement on profile for New Zealand this as a weakness for international sales strategies with co- Apron Strings (114 previous year). Feature film The world premiere of The Strength of Water investors; Following on from its North American films and filmmakers is an industry seeking participation at international film festivals screened in competition in the VPRO Tiger • Targeted pitching of new projects to key premiere at the Toronto International Film cost $119,366 ($101,937). Short film Awards at this festival. This is the first time important to the NZFC, international growth and distributors and festivals, utilising new Festival in September, NZ Film held trade participation cost $111,977 ($98,652). that a film from New Zealand has been marketing materials; screenings in November at the American both in terms of achieving improved performance. It included in competition. Director Armagan NZ Film generated income of $3,468,948 Film Market. The film also screened as part Ballantyne and writer Briar Grace-Smith • Well-attended market screenings of the best possible financial is a gap that the NZFC is from its feature film sales (previous year of the Cannes Cinephiles programme of five were in Rotterdam to introduce the film Under the Mountain and The Strength returns for the investors $6,002,075) and income of $155,472 from recent NZ features, arranged in partnership filling through the active to the Festival audience. Vincent Ward’s of Water; short film sales ($172,513 previous year). with the Cannes Film Festival. in our films, and to ensure participation of its sales Commissions retained from these sales Rain of the Children also screened in official • Early promotion of six forthcoming selection. feature titles; In France, Apron Strings also screened at that new film projects agency arm NZ Film, at earned the NZFC $319,706 (previous year the St Tropez Antipodes Film Festival and • Sales and offers totalling more than $820,712). the Creteil Women’s Film Festival; and in participate effectively major film markets and Berlin Film Festival and US$1.374M Income received from other sales agents Poland at the Off Camera International Film in the global financing festivals. into the NZFC’s collection account was Market Among special events held in the NZ Film Festival. In November the film was selected market. The wider local $518,370 (previous year $398,078). office was a function for distributors and to screen at the Taipei Golden Horse Film NZ Film participated at this major financiers involved with Under the Mountain. feature film industry has As a collection agent, the NZFC now international event with The Strength Festival, the International Film Festival in administers income accounts for 150 of Water as an official selection for the Goa, and at Kuala Lumpar’s International lacked effective “route to features and 301 short films. Gross Generation section of the festival. The two International Releases Film Festival. The film participated in the market” opportunities. income of $4,442,424 (previous year child actors in the film, Hato Paparoa and West Hollywood Women’s International Film $6,572,666) was received during the year. Melanie Mayall-Nahi, attended the festival and Sales – features and TV Showcase, and screened at the Dubai As an investor, the NZFC’s share of along with director Armagan Ballanytne, International Film Festival in December. income was $1,246,379 (previous year writer Briar Grace-Smith and producer Dean Spanley In the US, the film has screened at the $2,819,578). Income distributed to other Fiona Copland. NZ Film also organised a Santa Barbara, Cleveland, Minneapolis and Following on from its world premiere at investors was $1,224,849 (previous year market screening of Dean Spanley and a Seattle International Festivals. the Toronto International Film Festival in $1,895,861). first footage screening of The Vintner’s Luck. September, the film had its UK premiere Show of Hands in October at the London Film Festival. Toronto International Film Cannes Film Festival and UK distributors, Icon, began the British Following on from its world premiere at Festival Market theatrical release in early December, on the Film Festival in August, the 55 prints. The UK Film Council assisted film was selected to screen at the Hawaii The 2008 Toronto International Film In May 2009 NZ Film organized Icon with their release by providing a grant International Film Festival in October. NZ Festival in September featured the world New Zealand’s 30th consecutive from their distribution fund. The film Film held trade screenings in November at premiere screening of Dean Spanley and participation at the Cannes Film Festival. opened to wide critical acclaim. the American Film Market. the North American premiere of Apron Twenty-four New Zealand filmmakers and Strings. The NZFC Chief Executive and the two New Zealand distributors were based Peter O'Toole was nominated for the The film screened at the Shanghai Head of Sales and Marketing attended. in the NZ Film office. NZFC staff attending London Critics Circle Award for British International Film Festival in June. The producers, directors and lead cast were the NZFC’s Chief Executive, the Actor In A Supporting Role. of the films selected also participated. Head of Sales and Marketing, the Head of NZ Film held trade screenings in November The Strength of Water NZ Film hosted a reception for 200 Development and the Head of Business and at the American Film Market and in Following on from its world premiere festival delegates. Legal Affairs. Judith McCann, representing February 2009 at the Berlin Film Market. in competition at the 2009 Rotterdam Film New Zealand, Penelope Borland, CEO The film also screened as part of the International Film Festival, The Strength of of SPADA and Jacqueline Corbett from Cannes Cinephiles programme of five Water screened at the Berlin International Investment NZ also attended. recent NZ features, arranged in partnership Film Festival. In March the film screened with the 2009 Cannes Film Festival.

18 GOAL 4 International Profile 19 NZ FILM COMMISSION ANNUAL REPORT 08/09

at Norway’s Kosmorama Trondeim American premire at the Montreal Film Film Festivals York and Sundance with assistance from internationally at the 61st Locarno Film Two Maori short films; Kehua and Mokopuna Film Festival and in May at the Seattle Festival. In October the film screened at the NZFC. Producer Rachel Lorimer also Festival in Switzerland and also screened were selected for the Montreal First International Film Festival. The film went the Flanders International Film Festival The NZFC once again supported the annual attended Sundance with NZFC assistance. at the International Film Festival of Peoples’ Film Festival. Kehua and Mokopuna Cinema Des Antipodes film festival in the on to screen in June at the Sydney Film in Ghent, Belgium, at the Warsaw Film Aphrodite’s Farm (NZFC-financed) was Documentary and Short Film of Bilbao. as well as Journey to Ihipa and Patu Ihu were French city of St Tropez. The programme Festival and the Shanghai International Festival and in Mexico as part of the First selected in competition for the 59th It was later selected for the Seattle also selected for Dreamspeakers Film included Second-Hand Wedding, The Film Festival. International Film Week. A Song of Good Internationale Filmfestpiele Berlin in the International Film Festival, as well as Festival in Canada. Mokopuna won Best Lunatics' Ball and Apron Strings. NZ Film held trade screenings in May screened at the Gijon and Tallinn Black Generation 14 plus section. It won the This Is Her and Careful with that Power Short Film of the Festival. at the Cannes Film Festival. The film Nights International Film Festivals in In March, the NZFC provided seven features Crystal Bear for Best Short Film. Director Tool. Careful with that Power Tool was also Sprockets International Film Festival for also screened as part of the Cannes November. for the Tel Aviv New Zealand Retrospective and co-writer Adam Strange and producer selected for Hamburg International Short Children in Canada selected Hawaikii, Run, Cinephiles programme of five recent NZ in Israel. The programme included Dean Anzak Tindall attended the Festival with Film Festival in Germany. The Trophy and Mokopuna. The short features, arranged in partnership with Second-Hand Wedding Spanley, Desperate Remedies, Out of the support from the NZFC. Kehua was also Coffee & Allah continued its success from ‘documation’ film, Noise Control was also Blue, Perfect Strangers, Rain, Rain of the the Cannes Film Festival. In October 2008 the Film was selected to selected in competition for the Generation 2007. The NZFC-financed short film won selected for the Chicago Children’s Children and The Price of Milk. The festival screen at the Hawaii International Film K Plus at the 59th Internationale Best Short Film at the 28th Louis Vuitton International Film Festival along with Run ran in Tel Aviv, Haifa and Jerusalem. Rain of the Children Festival, the St Tropez Antipodes Film Filmfestpiele Berlin. Director Wiremu Hawaii International Film Festival, the and The Trophy. Careful with that Axe was The NZFC also provided five features for Grace received NZFC assistance to attend selected for NY Children’s Film Festival. Following on from its world premiere Festival, the Heartland Truly Moving winner of the Dior Style Evocation prize at the Cannes Cinephiles Festival which the Festival. at the 2008 Sydney Film Festival, Pictures Festival in the US and the Seoul Vladivostok International Film Festival is held at the same time as the Cannes Rain of the Children celebrated its International Film Festival. The film Three New Zealand short films were and also won Best Short Film at the Clermont-Ferrand Film Festival. Rain of the Children, The European premiere at the Karlovy Vary screened in Turkey in November in the selected for competition at the acclaimed International Festival of Muslim Cinema Strength of Water, Dean Spanley, Apron International Film Festival in July. It went 7th International Comedy Film Festival, 53rd Valladolid International Film Festival in Russia and also screened at the 53rd short film festival and Strings, Second Hand Wedding all screened onto screen at the Era New Horizons and in the US at the Sedona International in Spain: Careful with that Axe, Bridge and Corona Cork Film Festival. Film Festival in February. In April the film with French subtitles. Cannes Cinephiles Take 3. Careful with that Axe received post- market International Film Festival in Wroclaw, Leo Woodhead’s short film, Cargo, was screened at the Singapore International is an independently organized festival production funding from the NZFC and Poland and the Melbourne International selected for the 35th Telluride Film NZ Film was represented at the 2009 Film Festival. programmed by Bernard Bories. It takes won the Golden Spike for Best Short Film at Film Festival. The film had its North Festival. Cargo received post-production Festival by Short Film Manager, Juliette place in a suburb of Cannes and has a focus Valladolid, while the NZFC-financed Take American premiere at the Montreal NZ Film began trade screenings in finance from the NZFC. It was also selected Veber and Short Film Assistant, Lucy on films from Australia and NZ. 3 won the Meeting Point Audience Award for Film Festival in August; its Asian November at the American Film Market. in competition for Melbourne International Cleary. Betty Banned Sweets was invited into Best Foreign Short, also at Valladolid. The Premiere at the Bangkok International The film also screened as part of the Film Festival and Paris Cinema competition at Clermont-Ferrand (written, director (Jochen Fitzherbert) and producer Film Festival and its US premiere at Cannes Cinephiles programme of International festivals International Film Festival. directed and produced by Michelle Savill). the Hawaii International Film Festival five recent NZ features, arranged in (Zane Holmes) of NZFC-financed Bridge Michelle Savill was supported by the NZFC 44 short films screened at Era New in October. That same month, the film partnership with the Cannes Film Festival. and sales – short films attended the festival with assistance from to attend the festival. screened at the Chicago and the Hof the NZFC. Horizons Film Festival in Poland as part Short films financed by the NZFC had 233 of a retrospective screening of NZ Film screened a programme of nine International Film Festivals, and the Under the Mountain Careful with that Axe was written, directed short films in the festival market, and screenings at international film festivals New Zealand film. These short films were: Seoul International Family Film Festival. and produced by Jason Stutter. It was another eight short films represented by Prior to delivery NZ Film promoted the and special events, all organised as a result Possum, The Singing Trophy, Kitchen Sink, selected for AFI and also in competition at NZFC were available for viewing in the NZ Film held trade screenings at the film at the 2008 Toronto International Film of initiatives by NZ Film compared with 114 The French Doors, Nature’s Way, A Moment the previous year. the Melbourne International Film Festival. video booth. The films which screened in American Film Market. In January 2009 Festival, the American Film Market, and Passing, The Hole, Larger Than Life, Careful with that Axe also received Special the New Zealand programme were: The the film screened in France as part of Berlin Film Festival. A market premiere for The NZFC-financed short film The Six O Tamaiti, Avondale Dogs, Watermark, Fog, the FIPA, and was officially selected to Mention at the 24th Interfilm Short Film Handover (writer Bianca Zander, director this film was organised by NZ Film at the Dollar Fifty Man had its world premiere at Truant, Sure To Rise, The Beach, Chop Off, screen at the Rotterdam International Festival in Berlin. David Stubbs, producer Vicky Pope), Cannes Film Festival. Director Jonathan the 2009 Cannes Film Festival, winning Fish Out of Water, Karma, Kitty, The Platform, Film Festival in their Spectrum Betty Banned Sweets was selected in Aphrodite’s Farm (writers Peter Force & King and fellow producers Richard Fletcher the ‘Special Distinction’ award. Producer Valley of the Stereos, Signing Off, Delores, programme. In March Rain of the Children competition for the International Film Adam Strange, director Adam Strange, and Matthew Grainger were part of the NZ Wendy Cuthbert and writer/director team Cow, Snail’s Pace, Mananui, Two Cars, One screened in Israel as part of the Tel Aviv Festival Rotterdam in the New Arrivals producer Anzak Tindall), The Road Out delegation at Cannes Mark Albiston and Louis Sutherland Night, Tama Tu, The King Boys, Hawaikii, New Zealand Retrospective, and in April section. Betty Banned Sweets received post of Town (writer/directors Adam Luxton/ attended Cannes with assistance from Wog Features, Te Ao Kapurangi, Te Po Uriuri, at the Singapore International The US territory for this film is being production financing from the NZFC. It also Jeremy Dumble, producer Richard Collins), the NZFC. Lars and Peter, a co-production Little Queen, Walkshort, Hurtle, Fly, Infection, Film Festival. handled by US sales agency Cinetic. E1 had its U.K. premiere at the 63rd Edinburgh Brave Donkey (writer Gregory King, between New Zealand and Denmark was Decaff, Decaff II, In Spring One Plants Alone, are the Canadian distributors. Icon will International Film Festival. It screened in director Gaysorn Thavat, producer Nikki The film also screened as part of distribute the film in the UK. also selected for Cannes; it was made State Of Siege. the Cannes Cinephiles programme with funding from the Screen Innovation competition at the 31st Clermont-Ferrand Walker), Journey to Ihipa (writer Vicky- Several Academy-qualifying festivals Anne Heikell, director Nancy Brunning, of five recent NZ features, arranged The Vintner’s Luck Production Fund (a Creative New Zealand Short Film Festival in France, 18th Aspen in partnership with the Cannes Film programme supported financially by the Shortsfest and Gijon Young Peoples Film selected NZ short films. The CFC- producer Makerita Urale), Bridge (writer/ Festival. In June it screened at the Prior to delivery NZ Film promoted the NZFC) and the Danish Film Institute. Festival in Spain. Writer/director/ producer, Worldwide Short Film Festival in Canada director Jochen Fitzherbert, producers Michelle Savill attended Rotterdam, chose three NZFC financed short films for Zane Holmes and Ashley Stuart Coupland), Montreal First People's Festival and the film at the 2008 Toronto International Film This Is Her was selected for a number of Edinburgh, Melbourne and Clermont- its 2009 edition; Careful with that Power This Is Her (writer Kate McDermott, director Shanghai Film Festival. Festival and the American Film Market. high profile festivals including: Sundance Ferrand with assistance from the NZFC. Tool, Coffee & Allah and This Is Her. Take 3 Katie Wolfe, producers Felicity Letcher Footage from the film was screened at the Film Festival, 35th Telluride Film Festival, A Song of Good 2009 Berlin and Cannes Film Festival. The Graffiti of Mr Tupaia which won three and Careful with that Axe were selected for and Rachel Lorimer), Careful with that the 46th New York Film Festival and the Power Tool (writer/director/producer Jason NZ pre-sold the film for distribution in the awards at the 2008 Qantas Film and Short Shorts Asia in Japan. Palm Springs Following on from its trade screening at Melbourne International Film Festival. The Stutter), Undergrowth (writer/director UK, Switzerland, Germany and Pan Latin. Television Awards for Best Short Film, Shortsfest in the USA chose Careful with the 2008 Cannes Film Festival, A Song NZFC-financed short film also won The Grant Major, producer Dan Salmon), Patu Japanese rights were sold by the film’s Best Performance in a Short Film and that Axe, This Is Her, Mokopuna and Bridge of Good screened at the Karlovy Vary Audience Award at Prague International Ihu (writers Summer Agnew/Warren Japanese investors, ORE. The Benelux Best Screenplay, also won Best Film to screen at its Festival. This Is Her, Careful International Film Festival in the Czech Short Film Festival, Best Short Film at St Beazley, director Summer Agnew, producer territory is being handled by the film’s Against Violence and Intolerance at the 24th with that Axe, Take 3 and The Trophy were Republic. The film was then selected Tropez Antipodes Film Festival and Best Angela Littlejohn). French producers. Comedy Short at Aspen Shortsfest. Director Interfilm Short Film Festival in Berlin. selected for the International Competition to screen at the Durban International The NZFC-financed short film premiered section of Australia’s Flickerfest in 2009. Film Festival, and celebrated its North Katie Wolfe travelled to Telluride, New

20 GOAL 4 International Profile 21 NZ FILM COMMISSION ANNUAL REPORT 08/09

GOAL 5/ Infrastructure Support NZ Screen Directors’ Guild: Communications and Tom Abrams Mise-en-Scene The NZFC continued its support for the Consultations To maintain strong infrastructure of the film industry with workshop – August grants to Film NZ, The Film Archive, Alongside its regular communications scriptwriter and USC associate Nga Aho Whakaari, SPADA and the activities including bimonthly electronic stakeholder relationships professor Tom Abrams conducted SPADA Conference, the NZ Screen newsletters, announcement of events and workshops organised by the NZSDG with Directors’ Guild, the NZ Writers’ Guild, market publications the NZFC undertook a NZFC financial support. These workshops Script to Screen and Women in Film & variety of communication events targetted focussed on the development of mise- Television. The NZFC was also a sponsor at filmmakers: en-scene as a part of the director’s craft. of the Qantas Film & Television Awards Thirty directors participated in workshops and supported the NZ Federation of AFM feedback sessions that took place in Auckland and Wellington. Film Societies along with the following – November Achieving the NZFC’s festivals: the NZ International Film DocNZ Pitching Competition key outputs is dependent Festival, the Wairoa Maori Film Festival, Head of Sales and Marketing Kathleen the 48 Hour Film Festival and the Show – September Drumm and Development Executive on close and effective Me Shorts Film Festival. Timothy O’Brien gave producers in The NZFC provided funding for an award Wellington and Auckland information on The following professional training and working relationships at the DocNZ Documentary Summit in market trends following their attendance at development opportunities were also with government agencies, Auckland. The winner, with a project the American Film Market in Los Angeles. offered in partnership with industry entitled Pictures of Susan, was Dan Salmon. industry organisations bodies: Market updates – March and filmmakers. SPADA: Eurista ‘The WIFT Mentoring Kathleen Drumm, Marilyn Milgrom Business of Development’ and Juliette Veber updated interested This programme was designed by filmmakers on the Berlin, Rotterdam and Women in Film and Television to enable – November Clermont-Ferrand markets in Auckland 10 emerging filmmakers ranging from This two day development seminar was and Wellington. producers through to craft groups to be held in Auckland and run by Stephen mentored by a senior professional. The Cleary under the auspices of SPADA. The Production Financing mentors included: Kath Akuhata-Brown, seminar attracted attendance from senior Vanessa Alexander, Pietra Brett-Kelly, producers, arts agencies and broadcasters. Guidelines – March Philippa Campbell, Lisa Chappell, Ngila The NZFC held presentations in Dickson, Adrienne Dunlop, Margot SPADA: Navigating the SPIF Auckland and Wellington to present the Francis, Annie Frear, Mairi Gunn, Rachel new production financing guidelines to Lang, Angela Littlejohn, Elizabeth McRae, Workshops – April producers. Robyn Malcolm, Christina Milligan, NZFC Business and Legal Staff ran two Leanne Pooley, Kahra Scott James and morning sessions organised by SPADA – Strategic Direction Meeting Gavin Strawhan. one in Auckland and one in Wellington - to familiarise producers with the Screen – June Production Incentive Fund. Key industry members were invited to sessions in Wellington and Auckland to discuss proposed changes to our Statement of Intent and Budget for 2009/1010.

22 GOAL 5 Stakeholder Relationships 23 NZ FILM COMMISSION ANNUAL REPORT 08/09

GOAL 6/ Governance Film Fund 1 (which exists for any amount invested Partnership relationships To maintain standards of over $2M) as an advance on the The NZFC held six regular Board The New Zealand Film Fund Production producer’s SPIF equity and a pro-rata, with Government meetings: three took place in Wellington Trust is currently due to be wound up in pari passu recoupment position for the The NZFC’s annual Statement of Intent was good governance, business and three in Auckland. Five were two-day June 2010. Its three independent trustees remaining SPIF equity. approved by the Board and signed off by the are David Gascoigne, Chris Prowse and meetings, and one was a one-day meeting. (c) Non-SPIF recoupment: to bring the Minister for Arts, Culture and Heritage. The Barrie Everard. The NZFC representatives Prior to the one-day meeting, senior staff producer’s recoupment position on NZFC also signed its annual Memorandum practice and accountability were Wendy Palmer and Ruth Harley until and the Board held a daylong policy/ non-SPIF films more in line with SPIF of Understanding with the Minister. the latter’s departure from the NZFC in strategy meeting in February. In addition films, the NZFC will offer producers Fortnightly reports were provided to the October 2008 when David Cullwick replaced there were seven Special Board meetings of non-SPIF films a 40% share of the Minister and the Associate Ministers. all conducted by teleconference. her. NZFC’s recoupment position. This In association with the Ministry of Foreign The Development Committee met six The Trust held five formal meetings and replaces the previous policy which Affairs and Trade and the Ministry of times. continued to provide regular reports to offered producers a 10% share. Culture and Heritage, the NZFC assisted in The NZFC is committed to Total administrative costs not the NZFC Board. The NZFC continued The Finance and Audit Committee met (d) SPIF overage: Where NZFC invests in the negotiation of a film-only co-production to provide administrative assistance for best practice governance otherwise allocated to specific five times. a SPIF film, the NZFC will apply any agreement between New Zealand and the Trust in accordance with a service South Korea. This agreement was finalised The Sales Agency Advisory Committee SPIF overage to reduce the NZFC equity with the aim of ensuring operations: $2,562,720 agreement. in October and the text is on the NZFC had four meetings. Mark Croft joined this investment. Essentially this means In May 2009 the Film Fund published an website. New Zealand now has a total of fairness and transparency (previous year $2.572m) committee as an additional member in that part of the NZFC investment is Interim Report which provided details of its 10 international co-production treaties or of policies, processes April 2008. cashflowing part of the SPIF grant. The investments to that date. SPIF overage is the final SPIF grant agreements. The Film Fund 2 Committee had 2 and decision-making, in less all amounts required to repay the A co-production agreement with South meetings, one of which was a joint order to maximise the Film Fund 2 primary SPIF lender and any other Africa is close to finalisation. New Zealand meeting with the NZFC Board. party (including the producer) who has When SPIF was introduced, the Government is also in active negotiation with India and opportunities for each film The SPIF Committee met eight times. cashflowed all or part of the estimated reallocated NZFC funding which had China over new co-production agreements. SPIF grant to the production. project and filmmaker that Board member, William Somerville, the been set aside for Film Fund 2 to the SPIF The NZFC agreed with Screen Australia seeks support. Deputy Chief Executive and the Head fund and therefore once this committee (e) Disclosure of decisions: The NZFC that the reciprocal nationality arrangement of Business Affairs appeared before had completed financing on Separation will disclose the amount of its feature for official co-productions be extended for a Parliament’s Government Administration City, it was formally disestablished. This film equity investments as soon as the further year to 31 March 2010. Committee in February, as part of a occurred in December 2008. At that time financing for the relevant project has formal financial review of the NZFC. This this committee had presided over NZFC closed. Administration of the Large was the second consecutive year at which investment in 4 feature films: The Vintner’s (f) Sales agent: The guidelines have been Budget Screen Production the NZFC has been requested to appear Luck, Dean Spanley, Under the Mountain and clarified to make it clear that feature before the committee in person. Separation City. film producers may choose either NZ Grant Scheme Film or an offshore sales agent to Board financing The NZFC continued to provide Production Financing represent their project. administrative services for the commitments and funding Guidelines (g) NZ distribution deal: As recommended Government’s Large Budget Screen in the Sue Murray report, the Production Grant Scheme, which is now in The Board made seven commitments for Following the introduction of SPIF, the guidelines have been clarified to its sixth year. Details of the scheme and its feature film investment and supported NZFC undertook a review of its production support the expectation that producers criteria are on the NZFC website. 9 digital features by making grants for financing guidelines. As a result of are responsible for negotiating post-production. this review, new Production Financing The NZFC continued to be responsible for and completing the NZ theatrical Guidelines were issued in February 2008. convening and chairing meetings of a panel distribution deal for their film. NZFC Key changes were: that assesses application for grants. The will continue to provide advice on panel met on seven occasions to approve, (a) A cap on the level of NZFC investment: standard terms. decline or adjust the applications, to ensure the maximum amount that the NZFC that the application process runs in a will invest is: (a) $2.5M for SPIF films transparent, consistent and timely fashion and (b) $3M for non-SPIF films. and to work with and develop the criteria. (b) SPIF recoupment: except for larger- The panel comprised a representative of budget films with complex financing both the Ministry of Economic Development structures, the NZFC will offer and the Inland Revenue Department, up to producers of SPIF films 10% of the four industry practitioners (Trishia Downie, NZFC’s premium recoupment position Catherine Madigan, Tim Sanders and Chloe Smith) and the NZFC Chief Executive or Deputy Chief Executive as chair of the meetings.

24 GOAL 6 Standards 25 NZ FILM COMMISSION ANNUAL REPORT 08/09

Structure

During the year a total of nine grants Administration of the Screen The following eight applications received 3. The Finance and Audit Committee were approved and paid to: provisional certification: Board Staff Production Incentive Fund This committee of Board members Jumper Under the Mountain David Cullwick completed his third takes responsibility for financial issues Ruth Harley resigned as Chief Executive $1.091m On 1 July 2008 the NZFC became the Feature Film and final year as NZFC chairman. Bill and risk management to maximize the in October 2008 to take up the inaugural Jumper Productions NZ Limited administrator for the Government’s newly Redhead Films Limited Birnie completed his eighth year as time available for policy and production position of Chief Executive at Screen deputy chair. Australia. The Chair appointed NZFC’s Underworld 3 introduced Screen Production Incentive Separation City financing decisions at full Board meetings. Deputy Chief Executive, Mladen Ivancic, to $4.555m Fund (SPIF). Details of the fund and its Feature Film The NZFC has five key decision- The committee works in accordance with Acting Chief Executive until a permanent UW3 Film Production Limited criteria and a list of ‘frequently asked Separation City Limited making bodies. rules formulated by the NZFC. Members for questions’ are available on the NZFC the year to 30 June 2009 were: replacement was appointed. In April Avatar (2nd interim) website. Matariki 1. The full Board 2009 Graeme Mason was appointed Chief $15.369m Feature Film Bill Birnie (chair), William Somerville, The NZFC is a statutory body and the Executive. 880 Productions Limited A sub-committee of the NZFC has been Filmwork (Matariki) Limited David Cullwick. established to assess and consider Board meets on average six times a Other staff changes during the period were Prince Caspian applications for provisional and final The Vent year to decide on policy matters and 4. The Sales Agency Advisory Committee Lucy Cleary joining as Short Film Assistant $2.828m certification for a SPIF grant. The Feature Film major production investment for all This committee, appointed by the Board replacing Eloise Veber (temp), Prue Clark Wimbleweather Limited committee comprised three industry Rocket Pictures Limited feature films. and working to rules formulated by the replaced Erin Banks as Receptionist/ The Day the Earth Stood Still practitioners (Trishia Downie, Dave Travel Bug Members for the year to 30 June 2009 Board, is responsible for providing advice Development Assistant and Erin moving $3.509m Gibson and Matthew Metcalfe), two NZFC TV Documentary Series were: on sales strategies and targets, reviewing into the newly created role of Business New Upstairs Productions Limited Natural History NZ Limited the sales agency’s annual business plan, Affairs Assistant. Sophie Cherry (temp) Board Members (Shane Simpson and David Cullwick (chair), Bill Birnie, budget and performance and approving replaced Jason Cook as Distribution They Came From Upstairs William Somerville) and the NZFC Chief The Volcano (deputy chair), Vanessa Alexander, the annual marketing plan on a market by Assistant and Paul Swadel replaced $5.207m Executive, Deputy Chief Executive and Feature Film Andrew Cornwell, Wendy Palmer, market basis. Its members for the year to Timothy O’Brien as one of the Development New Upstairs Productions Limited Head of Business Affairs. The NZFC Chief The Volcano Company Limited Shane Simpson, William Somerville, Executive or Deputy Chief Executive chairs 30 June 2009 were: Paul Davis (chair), Mark Executives. Power Rangers – Jungle Fury Emilie Richards: Tales of the South Pacific Tainui Stephens. the meetings and a representative from the Croft, Wendy Palmer, Andrew Cornwell, During the period under review Kathleen $3.009m TV Drama Series All members are appointed by Ministry of Culture and Heritage and the Kathleen Drumm. Drumm resigned as Head of Sales and Ranger Productions Limited GFC (Germany) Limited the Minister for Arts, Culture and Inland Revenue Department are invited to Marketing. Avatar (3rd Interim) attend all meetings. Predicament Heritage. 5. The Screen Production Incentive Fund The NZFC continued to observe its human $7.770m Feature Film David Cullwick, Vanessa Alexander, (SPIF) Committee Over the course of the financial year, the resources policies and procedures, 880 Productions Limited Novel Productions Limited Wendy Palmer and Shane Simpson This Committee, appointed by the Board Committee met on eight occasions to which are formally recorded and include completed their terms at the end of is responsible for assessing whether Wolverine approve, decline or adjust the applications, No applications for final certification were a commitment to equal employment the financial year. provisional and final applications satisfy $4.531m to ensure that the application process runs processed. opportunities by elimination of all aspects the criteria for the SPIF grant. Payment of WOZ Productions Limited in a transparent, consistent and timely In accordance with the target timeframe, of policies, procedures, practices and 2. The Development Committee final funding is dependent on verification In accordance with the target timeframe, fashion and to work with and develop the six of the applications were processed any institutional barriers that may cause This committee is appointed by the from the Inland Revenue Department. One six of the applications were processed criteria. within six weeks of receipt. The processing or perpetuate inequalities in respect of Board to decide on applications for nominated representative from each of the within three months of receipt. The of two applications took longer than six employment opportunities of any person feature film script development Ministry for Culture and Heritage and the processing of three applications took weeks due to delays in receiving extra or groups of persons. Policies on being a and follows rules formulated by Inland Revenue Department are invited and longer than three months due to delays information from the applicants about good employer as outlined in the Crown the Board. Chaired by the Chief entitled to attend meetings of SPIFCOM as in receiving extra information from the various aspects of their applications. Entities Act 2004 are operational. It Executive, its members at each observers. Its members for the year to 30 applicants about various aspects of their includes ensuring that all employees have In October 2008 the NZFC held seminars meeting include one Board member June 2009 were: applications. opportunities to achieve their potential, for industry members in Auckland and and two representatives of the • NZFC Board Members: William recognizing and valuing employees’ Wellington to cover SPIF criteria and independent production industry. Somerville and Shane Simpson different skills, talents, experiences and process, and NZFC investment in both SPIF The Board was represented by Tainui perspectives, and their different cultural and non-SPIF films including recoupment. Stephens or Vanessa Alexander. • NZFC Staff: Sarah Cull, Graeme Mason values and beliefs, recognition of the aims In April 2009 further seminars were held Independent industry professionals and Mladen Ivancic and aspirations of Maori, and recognition to give practical guidance for producers who participated in meetings were • Independent Screen Production Industry of the aims, aspirations and employment on preparing applications for SPIF, Gillian Ashurst, Riwia Brown, Paul Professionals: Trishia Downie, Dave requirements of ethnic or minority groups, cashflowing SPIF, and monitoring QNZPE Davis, Matthew Grainger, Jonathan Gibson and Matthew Metcalfe women, and persons with disabilities. Equal during production. King, Shuchi Kothari, Robin Laing, employment opportunities are incorporated John Reid, Robert Sarkies, Glenn in staff selection and management, to Standring, Graeme Tetley and Athina achieve as diverse personnel as possible Tsoulis. given the small size of the NZFC.

26 Structure 27 NZ FILM COMMISSION ANNUAL REPORT 08/09

Statement of Responsibility Statement of Financial Position for the year ended 30 June 2009 for the year ended 30 June 2009

Pursuant to the Crown Entities Act 2004, 2009 2009 2008 the New Zealand Film Commission and Notes the management of the New Zealand Film Actual Budget Actual Commission accept responsibility for: $ $ $ • The preparation of the financial Equity statements and the Statement of Service Performance and for the judgements used Accumulated funds 9,726,737 6,751,000 11,403,851 therein; Total Equity 2 9,726,737 6,751,000 11,403,851 • The establishment and maintenance of Represented by: a system of internal control designed to provide reasonable assurance as to the Current Assets integrity and reliability of financial and Cash and cash equivalents 3 3,681,197 8,300,000 7,117,097 non-financial reporting. Investments 4 12,509,616 7,000,000 20,200,000 In the opinion of the New Zealand Film Commission and the management of the Trade and other receivables 5 3,678,045 1,800,000 1,929,193 New Zealand Film Commission, the financial Total Current Assets 19,868,858 17,100,000 29,246,290 statements and Statement of Service Performance for the year ended 30 June 2009 set out on pages 29 to 50 fairly reflect Non-Current Assets the financial position and operations of the Property, Plant & Equipment 6 709,058 750,000 792,671 New Zealand Film Commission. Intangible Assets 7 37,754 0 63,315 Total Non-Current Assets 746,812 750,000 855,986 Total Assets 20,615,670 17,850,000 30,102,276

Less Liabilities: Patsy Reddy, Current Liabilities Chair Trade and other payables 8 1,797,817 1,000,000 2,010,543 Employee Entitlements 9 86,841 0 71,567 Film Income Account 10 192,963 1,500,000 188,876

Project Commitments 11 8,811,312 8,599,000 16,414,202 Finance Lease 17 0 0 8,357 Total Current Liabilities 10,888,933 11,099,000 18,693,545

Non-Current Liabilities

Bill Birnie, Finance Lease 17 0 0 4,880 Deputy Chairman Total Non-Current Liabilities 0 0 4,880 Total Liabilities 10,888,933 11,099,000 18,698,425

31 October, 2009 Net Assets 9,726,737 6,751,000 11,403,851

The accompanying notes on pages 32 to 47 form part of these financial statements.

28 Financial Statements 29 NZ FILM COMMISSION ANNUAL REPORT 08/09

Statement of Financial Performance Statement of Cashflows for the year ended 30 June 2009 for the year ended 30 June 2009

2009 2009 2008 2009 2009 2008 Actual Budget Actual Actual Budget Actual Note $ $ $ Note $ $ $ Income Cash Flows from Operating Activities Crown Revenue 5,611,000 5,611,000 11,057,000 Receipts from Crown Revenue & Other Income 20,174,954 26,400,000 26,906,656 Lottery Board Grant 9,587,500 9,587,000 12,027,500 Income from Films 10 1,246,379 1,050,000 2,819,578 Interest Received 1,687,884 1,200,000 2,386,188 Distribution Fee 10 319,706 280,000 820,712 Production Funding, Marketing, Industry Interest 1,459,370 1,200,000 2,274,247 Support, Suppliers & Employees (30,446,158) (38,090,000) (25,458,829) Writebacks 2,773,999 0 122,392 Goods and Services Tax (net) (689,467) 250,000 59,690 Other Income 167,089 50,000 59,474 Net cash from operating activities 25 (9,272,787) (10,240,000) 3,893,705 21,165,043 17,778,000 29,180,903 Crown Revenue - SPIF Grants - 11,700,000 - Cash Flows from Investing Activities 21,165,043 29,478,000 29,180,903 Sale of Term Deposits 20,200,000 9,500,000 21,150,000 Expenditure Purchase of Term Deposits (12,509,616) 0 (25,250,000) Development 12 3,229,079 3,530,000 3,486,642 Short Term Loans Issued (2,735,886) 0 (2,041,928) Production 13 13,867,426 11,680,000 21,808,837 Short Term Loans Repaid 898,850 700,000 1,786,099 Professional Development and Purchase of Property, Plant & Equipment (83,302) (160,000) (855,690) Industry Support 14 1,020,000 1,000,000 980,000 Sale of Property, Plant & Equipment 89,291 0 0 Marketing & Sales 15 2,162,932 2,494,000 1,785,560 Purchase of Intangible Asset (22,450) 0 (24,538) Corporate 16 2,562,720 2,745,000 2,572,169 Net cash from investing activities 5,836,887 10,040,000 (5,236,057) 22,842,157 21,449,000 30,633,208 Crown Revenue - SPIF Grants - 11,700,000 - Cash Flows from Financing Activities 22,842,157 33,149,000 30,633,208 Decrease in Finance Lease 0 0 (8,357) Net Surplus / (Deficit) (1,677,114) (3,671,000) (1,452,305) Net cash from financing activities 0 0 (8,357) Explanations of significant variances against budget are detailed in note 28. The accompanying notes on pages 32 to 47 form part of these financial statements. Net Increase / (Decrease) in Cash at Bank (3,435,900) (200,000) (1,350,709) Opening Cash at Bank 7,117,097 8,500,000 8,467,806 Statement of Changes in Equity Closing Cash at Bank 3,681,197 8,300,000 7,117,097 The GST (net) component of operating activities reflects the net GST paid and received with the Inland Revenue Department. The GST (net) component has been presented on a net basis, as the gross amounts for the year ended 30 June 2009 do not provide meaningful information for financial statement purposes. The accompanying notes on pages 32 to 47 form part of these financial statements.

2008 2009 2008 Actual Budget Actual $ $ $ Equity at 1 July 11,403,851 10,422,000 12,856,156 Surplus / (Deficit) for the year (1,677,114) (3,671,000) (1,452,305) Total recognised income / (expense) for the year (1,677,114) (3,671,000) (1,452,305) Equity at 30 June 9,726,737 6,751,000 11,403,851

The accompanying notes on pages 32 to 47 form part of these financial statements.

30 Financial Statements 31 NZ FILM COMMISSION ANNUAL REPORT 08/09

Notes to the Financial Statements for the year ended 30 June 2009 Subsequent Costs The amortisation charge for each period Trade and other payables Costs incurred subsequent to initial is recognised in the statement of financial Trade and other payables are initially acquisition are capitalised only when it is performance. 1. STATEMENT OF ACCOUNTING POLICIES FOR THE YEAR ENDED 30 JUNE 2009 measured at fair value and subsequently probable that future economic benefits or The useful lives and associated amortisation measured at amortised cost using the service potential associated with the item rates of major classes of intangible assets Reporting Entity Foreign currency transactions are contract is executed or, in the case of film effective interest method. translated into the functional currency royalty “overages”, when the royalties have will flow to the NZFC and the cost of the have been estimated as follows: Pursuant to the New Zealand using the exchange rates prevailing at been reported and become receivable. item can be measured reliably. Computer software 3 years 33.33% Employee Benefits Film Commission Act 1978, the the dates of the transactions. Foreign New Zealand Film Commission exchange gains and losses resulting from Trade and other receivables Depreciation Investments and Advances Employee benefits that the NZFC expects (the NZFC) was established on 13 to be settled within 12 months of balance the settlement of such transactions are Trade and other receivables are initially Depreciation is provided on a straight -line November 1978 as a Crown Entity in Funding for film development and date are measured at nominal values based recognised in the statement of financial measured at fair value and subsequently basis on all property, plant and equipment terms of the Crown Entities Act 2004. production, while in the nature of an on accrued entitlements at current rates performance. measured at amortised cost using the at rates that will write off the cost of the investment, is treated as expenditure of pay. These include salaries and wages These are the New Zealand Film Standards, amendments and effective interest method, less any assets to their estimated residual values because of its high-risk nature. This accrued up to balance date and annual Commission’s financial statements. interpretations issued that are not yet provision for impairment. over their useful lives. The useful lives expenditure is recognised at the time the leave earned to, but not yet taken at balance They are prepared subject to the effective and have not been early adopted: and associated depreciation rates of major Impairment of a receivable is established commitment is approved and includes date. The NZFC recognises a liability and an New Zealand Film Commission Act classes of assets have been estimated as The NZFC has elected not to early adopt on a case by case basis, when there is funds committed but not paid out at year- expense for bonuses where contractually 1978 and the Crown Entities Act 2004. follows: the following NZ IFRSs and Interpretations objective evidence that the NZFC will not end. The exceptions to this policy are: obliged or where there is a past practice The primary objective of the NZFC that had been approved by the New Zealand be able to collect amounts due according to Computer Equipment - (i) Investments for which a certain level that has created a constructive obligation. is to encourage and also participate Accounting Standards Review Board as at original terms of the receivable. Hardware 3 years 33.33% of income is contracted and reasonably and assist in the making, promotion 30 June 2009 as they are not yet applicable: Significant financial difficulties of the Office Equipment 5 years 20.00% assured. Such investments are treated and exhibition of films and has Superannuation Schemes • NZ IAS 1: Presentation of Financial debtor, probability that the debtor will enter as assets and valued at the minimum been established exclusively for Furniture and Fittings 7 years 14.29% Statements (revised) approved by into bankruptcy, and default in payments level of expected income. Obligations for contributions to Kiwisaver charitable purposes in New Zealand. the Accounting Standards Review are considered indicators that the debtor is Leasehold Alterations 9 years 11.11% are accounted for as defined contribution Accordingly, the NZFC has designated (ii) Short term advances made on a fully Board in November 2007. NZ IAS 1: impaired. The carrying amount of the asset superannuation scheme and are itself as a public benefit entity for the recourse basis where the payment is Presentation of Financial Statements is reversed and written off against the The residual value and useful life of recognised as an expense in the statement purposes of NZ equivalents to IFRS secured by some means so as to give a (revised) becomes effective for periods unpaid invoices account in the Film Income an asset is reviewed, and adjusted if of financial performance as incurred. (NZ IFRS) reasonable expectation of repayment. commencing on or after 1 January 2009. Account. Overdue invoices that have been applicable, at each financial year-end. The financial statements of the Investment classification includes Financial Instruments • NZ IFRS 7: Financial Instruments: renegotiated are reclassified as current NZFC are for the year ended 30 June Intangible Assets transferable certificates of deposit and Disclosures (revised) approved by (i.e.not past due). The NZFC is party to financial instruments 2009. The financial statements were short term deposits. Investments are the Accounting Standards Review Loans are initially recognised at the present as part of its everyday operations and these authorised for issue on 31 October Software acquisition and development valued at the lower of cost or market value. Board in March 2009. NZ IFRS 7: value of their expected future cash flows, have been recognised in the statement 2009. Interest has been accrued at year-end. Financial Instruments: Disclosures discounted at the current market rate of Acquired computer software licences of financial position. These instruments (revised) becomes effective for periods return for a similar asset/investment. They are capitalised on the basis of the costs Project Commitments include cash on hand, bank balances, Basis of preparation commencing on or after 1 January 2009, are subsequently measured at amortised incurred to acquire and bring to use the short term deposits, accounts receivable, specific software. The financial statements of the NZFC and results in presentation changes. cost using the effective interest method. This amount represents financial accounts payable and project commitments. commitments and advances for film have been prepared in accordance The difference between the face value and Costs that are directly associated with the The NZFC plans to adopt NZ IAS 1 and the development and production committed Revenue and expenses in relation to all with the requirements of the Crown present value of expected future cash flows development of software for internal use by NZ IFRS 7 in the 2010 Annual Accounts. by the NZFC, but not paid out at year-end. financial instruments are recognised in the Entities Act 2004, which included of the loan is recognised in the statement of the NZFC, are recognised as an intangible Statement of Financial Performance. financial performance. asset. the requirement to comply with Revenue Writebacks New Zealand generally accepted Direct costs include the software Leases accounting practice (NZ GAAP). Revenue is measured at the fair value of Property, Plant & Equipment development, employee costs and an Writebacks represent commitments considerations received or receivable. These financial statements have Property, Plant & Equipment is shown appropriate portion of relevant overheads. for investments and advances treated Finance Leases been prepared in accordance with NZ Crown Revenue at cost or valuation, less accumulated Staff training costs are recognised as an as expenditure in previous years and A finance lease is a lease that transfers GAAP. They comply with NZ IFRS, and depreciation and impairment losses. expense when incurred. subsequently revised or cancelled and to the lessee substantially all the risks The NZFC is primarily funded through therefore written back to the current year’s other applicable Financial Reporting revenue received from the Crown, which is Costs associated with maintaining and rewards incidental to ownership of Additions income. Standards, as appropriate for public restricted in its use for the purpose of the computer software are recognised as an an asset, whether or not title is eventually benefit entities. NZFC meeting its objectives as specified in The cost of an item of property, plant and expense when incurred. Prepayments tranferred. The accounting policies set out below the Statement of Intent. equipment is recognised as an asset if it At the commencement of the lease term, is probable that future economic benefits Costs associated with the maintenance of have been applied consistently to all the NZFC’s website are recognised as an Expenses for future film markets and NZFC recognises finance leases as assets Other grants associated with the item will flow to the festivals incurred in the current year are periods presented in these financial expense when incurred. and liabilities in the statement of financial statements. Non-government grants are recognised as NZFC and the cost of the item can be shown as prepayments. position at the lower of the fair value of measured reliably. The financial statements have been revenue when they become receivable. Amortisation the leased item or the present value of the Foreign Currencies minimum lease payments. prepared on a historical cost basis. Interest Disposals The carrying value of an intangible asset with a finite life is amortised on a straight- Any bank deposits held in foreign The amount recognised as an asset is The financial statements are Interest income is recognised using the Gains and losses on disposals are line basis over its useful life. currencies at balance date are valued at the depreciated over its useful life. If there is presented in New Zealand dollars and effective interest method. determined by comparing the proceeds all values are rounded to the nearest with the carrying amount of the asset. Amortisation begins when the asset is quoted mid-rate at the close of business on no certainty as to whether NZFC will obtain dollar. The functional currency of Returns from Film Investments Gains and losses on disposals are included available for use and ceases at the date that 30 June 2009. The unrealised gain or loss ownership at the end of the lease term, the resulting from the valuation is adjusted asset is fully depreciated over the shorter NZFC is New Zealand dollars. Returns from film investments are in the statement of financial performance. the asset is derecognised. against income and expenditure. of the lease term or its useful life. recognised as revenue when either a sales

32 Notes to the Financial Statements 33 NZ FILM COMMISSION ANNUAL REPORT 08/09

2. EQUITY 2009 2008 $ $ a. Accumulated funds Balance at 1 July 11,403,851 12,856,156 Operating Leases The budget figures have been prepared adjustment to the carrying amounts Surplus/(deficit) (1,677,114) (1,452,305) Operating lease payments, where the in accordance with NZ IFRS and are of assets and liabilities within the next Total Equity as 30 June 9,726,737 11,403,851 lessor effectively retains substantially all consistent with the accounting policies financial year are discussed below: adopted by the NZFC for the preparartion of the risks and benefits of ownership of the Property, plant and equipment useful lives leased items, are charged as expenses in the financial statements. and residual value: 3. CASH AND CASH EQUIVALENTS the periods in which they are incurred. On the face of the Financial Statements the Creative Development costs have At each balance date the NZFC reviews 2009 2008 the useful lives and residual values of its Cash and cash equivalents $ $ moved from Professional Development & property, plant and equipment. Assessing Cash and cash equivalents includes cash Industry Support to Development but the the appropriateness of useful life and Cash at bank and in hand 3,181,197 7,117,097 in hand, deposits held at call with banks, budgeted figures are consistent. residual value estimates of property, Term Deposits maturing three months or less from 500,000 0 other short-term highly liquid investments The Statement of Intent (SOI) has multiple plant and equipment requires the NZFC to date of acquisition with original maturities of three months or line items that are condensed on the face of consider a number of factors such as the less. Term deposits represent deposits and the Financial Statements. physical condition of the asset and expected 3,681,197 7,117,097 other instruments with maturities of more period of use of the asset by the NZFC. than three months from acquisition date. Statement of Intent (SOI) Line $000’s Film Income Account The carrying value of term deposits with maturity dates of three months or less approximates their fair value. Operating activities includes all activities items: Refer to note 4 for weighted average effective interest rate for cash and cash equivalents. other than investing and financing Production Note 10 provides an explanation in relation activities. The cash inflows include all Short Films 1,610 to estimates and uncertainties surrounding receipts from the sale of goods and NZFC Features 7,900 the Film Income Account Liability. services and other sources of revenue that SPIF - NZFC - co-invest 2,000 4. INVESTMENTS support the NZFC’s operating activities. Other Production costs 170 Critical judgements in 2009 2008 Cash outflows include payments made to 11,680 applying the NZFC’s $ $ employees, suppliers and taxes. Marketing and Sales accounting policies Term Deposits with maturities of 4-12 months 12,509,616 20,200,000 Investing activities are those activities International - Sales/ Marketing 1,467 Management has exercised the following relating to the acquisition and disposal of Domestic - Distribution Initiatives 1,027 12,509,616 20,200,000 critical judgements in applying the NZFC’s current and non-current securities and any 2,494 accounting policies for the period ended 30 other non-current assets. Corporate June 2009: There were no impairment provisions for investments. Financing activities are those activities Administration 2,520 relating to changes in equity and debt Depreciation 225 Lease classification capital structure of the NZFC and those Determining wether a lease agreement Maturity Analysis and effective interest rates of term deposits activities relating to the cost of servicing Taxation is a finance or operating lease requires The maturity dates and weighted average effective interest rates for term deposits are as follows: the NZFC’s equity capital. judgement as to whether the agreement The NZFC is exempt from income tax transfers substantially all the risks and in accordance with Section 29 of the Goods and Services Tax (GST) rewards of ownership to the NZFC. 2009 2008 New Zealand Film Commission Act 1978. The financial statements are prepared on a Judement is required on various aspects $ $ GST exclusive basis, except for receivables that include, but are not limited to, the fair Changes in Accounting Term Deposits (with maturities 10,009,616 Term Deposits (with maturities 0 and payables, which are stated GST value of the leased asset, the economic of 3 months or less ; average of 3 months or less - Nil) inclusive. Where GST is irrecoverable as an Policies life of the leased asset, whether or not to maturity 122 days) input tax, then it is recognised as part of the There have been no changes in accounting include renewal options in the lease term related asset or expense. policies since the date of the audited and determining an appropriate discount weighted average effective 3.63% weighted average effective The net amount of GST recoverable financial statements for the year ended 30 rate to calculate the present value of the interest rate interest rate from , or payable to the Inland Revenue June 2008. minimum lease payments. Classification Department (IRD) is included as part of as a finance lease means the asset is receivables or payables in the statement of Critical accounting estimates recognised in the statement of financial Term Deposits (with maturities 2,500,000 Term Deposits (with maturities 20,200,000 financial position. position as property, plant and equipment, of 4-12 months; average of 4-12 months; average and assumptions whereas for an operating lease no such maturity 160 days) maturity 141 days) The net GST paid to, or received from the asset is recognised. IRD, including the GST relating to investing In preparing these financial statements weighted average effective 4.23% weighted average effective 8.59% and financing activities, is classified as an the NZFC has made estimates and The NZFC has exercised its judgement on interest rate interest rate assumptions concerning the future. These the appropriate classification of equipment operating cash flow in the statement of 12,509,616 20,200,000 cash flows. estimates and assumptions may differ from leases and has determined one lease the subsequent actual results. Estimates arrangement is a finance lease. Commitments and Contingencies are and assumptions are continually evaluated The carrying value of term deposits with maturity dates less than 12 months approximates their fair value. disclosed exclusive of GST. Term deposits with maturities of less than 3 months are invested at fixed rates ranging from 2.71% to and are based on historical experience Budget Figures 4.35%. Term deposits with maturities of greater than 3 months are invested at fixed rates ranging from and other factors, including expectations 4.00% to 4.50%.As these deposits are at a fixed interest rate and measured at amortised cost an increase The budget figures are those approved by of future events that are believed to be or decrease in interst rates during the period would not impact the measurement of the investments and the Board at the beginning of the financial reasonable under the circumstances. hence there would be no impact on the surplus/(deficit) of equity. year and are reported in the Statement of The estimates and assumptions that have Intent (SOI). a significant risk of causing a material

34 Notes to the Financial Statements 35 NZ FILM COMMISSION ANNUAL REPORT 08/09

5. TRADE AND OTHER RECEIVABLES 6. PROPERTY, PLANT & EQUIPMENT 2009 2008 $ $ Movements for each class of property, plant and equipment are as follows: Trade Debtors 628,101 1,382,043

Net GST Receivable 493,523 0 Computer Prepayments 52,904 47,803 Equipment Leasehold - Office Furniture Star Loans 2,550,622 713,586 Alterations Hardware Equipment & Fittings Total Less: Provision for impairment (47,105) (214,239) $ $ $ $ $ 3,678,045 1,929,193 Cost or Valuation Balance at 1 July 2007 0 260,367 118,817 161,153 540,337 The carrying value of receivables approximates their fair value. Additions 495,630 75,286 59,840 224,934 855,690 The carrying amount of receivables that would otherwise be past due, but not impaired whose terms have been renegotiated is Nil (2008 = Nil). Disposals 0 (86,671) 0 (51,922) (138,593) Balance at 30 June 2008 495,630 248,982 178,657 334,165 1,257,434 As at 30 June 2009 and 2008, all overdue receivables have been assessed for impairment and appropriate provisions applied, as detailed below: Balance at 1 July 2008 495,630 248,982 178,657 334,165 1,257,434 Additions 0 32,018 38,571 12,713 83,302 2009 2008 Reclassication of Assets 2,185 (2,185) 0 Gross Impairment Net Gross Impairment Net Disposals 0 (20,283) (69,008) 0 (89,291) $ $ $ $ $ $ Balance at 30 June 2009 495,630 262,902 146,035 346,878 1,251,445 Current 769,787 0 769,787 716,667 0 716,667 Past due 31-60 days 60,861 0 60,861 44,798 0 44,798 Accumulated Depreciation Past due 61-90 days 65,021 0 65,021 151,406 0 151,406 Balance at 1 July 2007 0 231,900 74,796 135,726 442,422 Past due >91 days 2,829,481 (47,105) 2,782,376 1,230,561 (214,239) 1,016,322 Depreciaton Expense 54,522 33,128 29,974 35,988 153,612 3,725,150 (47,105) 3,678,045 2,143,432 (214,239) 1,929,193 Eliminate on Disposal 0 (85,394) 0 (45,877) (131,271) The provision of impairment has been calculated based on expected losses for the NZFC’s pool of debtors. Balance at 30 June 2008 54,522 179,634 104,770 125,837 464,763 Expected losses have been determined based on the review of specific debtors. Those specific debtors that are insolvent are fully provided for. As at 30 June 2009 the NZFC has identified 2 debtors totalling $41,389 (2008 = $62,629) that are insolvent. Balance at 1 July 2008 54,522 179,634 104,770 125,837 464,763 Reclassication of Assets (9,730) (465) (10,195) Movements in the Provision for Impairment for receivables Depreciaton Expense 55,064 48,032 22,735 37,467 163,298 Movements in the Provision for Impairment for receivables are as follows: Eliminate on Disposal 0 (20,181) (55,298) 0 (75,479) Balance at 30 June 2009 109,586 197,755 71,742 163,304 542,387 2009 2008 $ $ Carrying amounts Balance at 1 July (214,239) As at 30 June and 1 July 2007 0 28,467 44,021 25,427 97,915 Reversal of 2008 Provision 214,239 As at 30 June and 1 July 2008 441,108 69,348 73,887 208,328 792,671 Additional provisions made during the year (47,105) (214,239) As at 30 June 2009 386,044 65,147 74,293 183,574 709,058 Balance 30 June (47,105) (214,239)

The net carrying amount of office equipment held under finance leases is Nil (2008 = $13,237)There are no restrictions over the title of the NZFC’s property, plant and equipment, nor are any items of property, plant and equipment pledged as security for liabilities. Based on our annual review of the useful life of the NZFC’s property, plant and equipment, we have assessed that there is no indication of impairment.

36 Notes to the Financial Statements 37 NZ FILM COMMISSION ANNUAL REPORT 08/09

7. INTANGIBLE ASSETS 8. TRADE AND OTHER PAYABLES 2009 2008 Movements for intangible assets are as follows: $ $ Computer Trade Creditors 1,153,399 1,341,158 Equipment Sundry Accruals 623,120 390,926 - Acquired Software Net GST Payable 0 195,943 $ PAYE 21,298 29,496 Cost or Valuation Money held on Co-investor’s behalf 0 53,020 Balance at 1 July 2007 502,418 1,797,817 2,010,543 Additions 24,538 Trade and other payables are non-interest bearing and are normally settled on 30-day terms, therefore Disposals (170,286) the carrying value of trade and other payables approximates their fair value. Balance at 30 June 2008 356,671

9. EMPLOYEE ENTITLEMENTS Balance at 1 July 2008 356,671 2009 2008 Additions 22,450 $ $ Disposals 0 Accrued Salaries and Wages 13,114 8,000 Balance at 30 June 2009 379,121 Annual Leave 73,727 63,567 86,841 71,567 Accumulated Amortisation Balance at 1 July 2007 390,588 Amortisation Expense 73,054 10. FILM INCOME ACCOUNT Eliminate on Disposal (170,286)

Balance at 30 June 2008 293,356 The film income account is used to collect and distribute to investors film proceeds received by the NZFC in its role as sales agent and / or trustee of certain films. The balance at 30 June represents film income receivable or collected but not yet distributed and unpaid film sales invoices. Balance at 1 July 2008 293,356

Reclassication of Assets 10,196 2009 2008 Amortisation Expense 37,815 $ $ Eliminate on Disposal Opening Balance 1 July 188,876 558,521 Balance at 30 June 2009 341,367 Income from Sales 4,442,424 6,572,666 Total Film Income 4,631,300 7,131,187 Carrying amounts Less: NZFC Distribution Fees (319,706) (820,712) As at 30 June and 1 July 2007 111,830 Less: Marketing & Other Expenses (460,847) (455,740) As at 30 June 2008 63,315 Net Earnings 3,850,747 5,854,735 As at 30 June 2009 37,754 Less: Distributed to Investors (1,224,849) (1,895,861) Less: Distributed to NZFC (1,246,379) (2,819,578) There are no restrictions over the title of the NZFC’s intangible assets, nor are any intangible assets pledged as security for liabilities. Based on our annual review of the useful life of the NZFC’s intangible Less: Loan Repayment to NZFC (836,898) (1,031,880) assets, we have assessed that there is no indication of impairment. 542,621 107,416 Provision for Unrecouped Expenses Increase/(Decrease) (147,297) 245,326 Balance 30 June 395,324 352,742 Unpaid Invoices Increase / (Decrease) (202,360) (163,866) Balance (including unpaid invoices) 192,963 188,876

The preparation of the film income account in conformity with NZ IFRS requires judgements, estimates and assumptions which are based on historical experience. The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimates are revised.

38 Notes to the Financial Statements 39 NZ FILM COMMISSION ANNUAL REPORT 08/09

11. PROJECT COMMITMENTS 15. MARKETING AND SALES 2009 2008 Feature Films 6,633,140 14,391,285 Features Marketing 796,667 519,578 Short Films 983,043 988,668 Shorts Marketing 128,963 101,103 Devolved Development and Producer Overhead Funds 1,195,129 1,034,249 Market Attendance 203,712 181,702 8,811,312 16,414,202 Sales Agency - Features 545,519 545,916 Sales Agency - Shorts 60,347 53,274 Project commitments represent commitments for investments and advances for film Personnel Costs 427,724 383,987 development and production committed by the NZFC , but not paid out at year end. 2,162,932 1,785,560

12. DEVELOPMENT 16. CORPORATE 2009 2008 2009 2008 $ $ $ $ Feature Films - Development 2,264,823 2,561,387 Personnel Costs 1,060,655 950,449 Creative Development 560,781 562,535 Board Costs 223,130 249,532 External Services 51,126 47,962 Communications 104,486 95,200 Personnel Costs 352,349 314,758 Office Overheads 241,036 251,054 3,229,079 3,486,642 Depreciation and Amortisation Expense: Leasehold Alterations 55,064 54,522 Creative Development has been moved from Professional Development & Industry Support in 2009 $560,781 (2008 =562,535). This expediture was reclassified becausethe costs consist of training initiatives Computer Equipment - Hardware 48,032 33,128 for individuals which are designedto aid the development process. Computer Equipment - Software 37,815 73,054 Office Equipment 22,735 29,974 13. PRODUCTION Furniture & Fittings 37,467 35,988 2009 2008 Rent 246,529 205,102 Feature Films - Production Financing 12,160,762 7,794,363 Audit Fees Film Fund 2 Films 0 12,497,350 For the audit of the financial statements 37,220 35,833 Short Films - Production Financing 1,111,941 1,090,223 For NZ IFRS transition 0 7,895 Signature Films 0 25,884 Other Costs 448,551 548,945 Screen Innovation Production Film Fund 350,000 350,000 Interest Paid on Finance Lease 0 1,493 Other Costs 244,723 51,017 2,562,720 2,572,169 13,867,426 21,808,837

14. PROFESSIONAL DEVELOPMENT & INDUSTRY SUPPORT

2009 2008 Festivals and Awards 205,000 205,000 Industry Support 815,000 775,000 1,020,000 980,000

40 Notes to the Financial Statements 41 NZ FILM COMMISSION ANNUAL REPORT 08/09

17. ANALYSIS OF FINANCE LEASES 19. CONTINGENCIES

2009 2008 Contingent liabilites $ $ There were no contingent liabilities at balance date (2008 = NIL). Minimum lease payments payable: Contingent assets Less than one year 0 9,852 There were no contingent assets at balance date (2008 = NIL). Between one and two years 0 5,747 More than five years 0 0 20. FINANCIAL INSTRUMENT RISK

Total minimum lease payments 0 15,599 The NZFC’s activities expose it to a variety of financial instrument risks, including market risk, credit risk and liquidity risk. The NZFC has a series of policies to manage the risks Less: Future Finance Charges 0 (2,362) associated with financial instruments and seeks to minimise exposure from financial Present Value of minimum lease payments 0 13,237 instruments. These policies do not allow any transactions that are speculative in nature to be entered into.

Present value of minimum lease payments payable Market risk The interest rates on the NZFC’s investments are disclosed in note 3. Less than one year 0 8,357 Fair value interest rate risk Between one and two years 0 4,880 Fair value interest rate risk is the risk that the value of a financial instrument will fluctuate Between two and five years 0 0 due to changes in market interest rates. The NZFC’s exposure to fair value interest rate risk More than five years 0 0 is limited to its bank deposits which are held at fixed rates of interest. Total present value of minimum lease payments 0 13,237 Credit risk In the normal course of business the NZFC incurs credit risk from trade debtors and financial institutions. Current portion of finance lease 0 8,357 Due to the timing of its cash inflows and outflows, the NZFC invests surplus cash with Non-current portion of finance lease 0 4,880 registered banks. Total Lease Liability 0 13,237 These Banks are: Kiwi Bank, HSBC, ASB, BNZ and The National Bank The NZFC’s Investment policy limits the amount of credit exposure to any one institution. The NZFC terminated the lease in August 2008. The NZFC’s maximum credit exposure for each class of financial instrument is represented by the total carrying amount of cash and cash equivalents (note 2), short term deposits (note 3) and trade debtors (note 4) 18. CAPITAL COMMITMENTS AND OPERATING LEASES There are no major concentrations of credit risk with respect to trade debtors and exposure to them is monitored on a regular basis. The NZFC does not require any collateral or security to support financial instruments due to the quality of the financial institutions dealt with. The NZFC had no capital commitments as at 30 June 2009 (2008 = Nil). The NZFC does not have any significant credit risk exposure to a single counterparty or any group of counterparties having similar characteristics due to the large number of customers included in the NZFC’s customer base. The credit risk on cash at bank, short Operating Leases as a lessee term investments and foreign exchange dealings is limited as the NZFC spreads its business The future aggregate minimum lease payments to be paid under non-cancellable operating amongst a number of AA+ rated counterparties The credit risk relating to cash at bank and leases are as follows: short term investments is insured by the Government deposit guarantee scheme up to a maximum of $1,000,000 per depositor per guaranteed institution As at 30/06/2009 The NZFC had a Credit Limit of $78,000 over the combined company credit 2009 2008 cards. $ $ Currency risk Not later than one year 218,138 218,138 The NZFC is not exposed to any significant currency risk. If the NZFC has reasonable Between one and two years 218,138 218,138 assurance that a foreign exchange debtor will pay on a due date and the sum is material then the NZFC will use a foreign currency contract to manage the foreign currency exposure. Between two and five years 436,276 654,414 The forward exchange contracts outstanding at 30 June 2009 amounted to NIL (2008=NIL). Later than five years 0 0 The NZFC enters into foreign currency forward contracts to hedge currency transactions. Any exposure to gains or losses on those contracts is generally offset by a related loss or 872,552 1,090,690 gain on the item being hedged. Apart from foreign currency forward contracts, all financial instruments are recognised in the Statement of Financial Position and all revenues and The NZFC leases two floors of an office building. The lease expires on 2 July 2019, with an option to vacate expenses in relation to financial instruments are recognised in the Statement of Financial the premises at the renewal dates of 2 July 2013 and 2 July 2016. Performance. The estimated fair values of the NZFC’s financial assets and liabilities are as per disclosed in the financial statements. The NZFC is assuming it will not vacate the premises at the lease renewal date of 2 July 2013. The NZFC does not have option to purchase the asset at the end of the lease term.

42 Notes to the Financial Statements 43 NZ FILM COMMISSION ANNUAL REPORT 08/09

21. CAPITAL MANAGEMENT Key Management Personnel

The NZFC’s capital is its equity, which is accumulated funds. Equity is represented by net 2009 2008 assets. $ $ The NZFC is subject to the financial management and accountability provisions of the Salaries and other short-term employee benefits 917,277 924,234 Crown Entities Act 2004, which impose restrictions in relation to borrowings, acquisition of securities, issuing guarantees and indemnities and the use of derivatives. Post-employment benefit 0 0 The NZFC manages its equity as a by-product of prudently managing revenues, expenses, Other long-term benefit 0 0 assets, liabilities, investments, and general financial dealings to ensure the NZFC effectively Termination benefit 0 0 achieves its objectives and purpose, whilst remaining a going concern. 917,277 924,234

22. RELATED PARTY TRANSACTIONS AND KEY MANAGEMENT PERSONNEL Key management personnel include all board members, the Chief Executive, Deputy Chief Executive, Head of Development,. Head of Sales and Marketing and Head of Business Affairs.

Related party transactions The NZFC is a wholly owned entity of the Crown. The government significantly influences the 23. BOARD MEMBER REMUNERATION role of the NZFC in addition to being a major source of revenue. The NZFC enters into transactions with government departments, state-owned enterprises and other Crown Entities The total value of remuneration paid or payable to each Board member during the year was: Those transactions that occur within a normal supplier or client relationship on terms and conditions no more or less favourable than those which it is reasonable to expect the NZFC 2009 2008 would have adopted if dealing with that entity at arm’s length in the same circumstances have not been disclosed as a related party transaction. $ $ The following transactions were carried out with related parties other than those described David Cullwick (Chairman) 40,000 40,000 above: Bill Birnie 15,800 16,000 All related party transactions have been entered into on an arms length basis. William Somerville 16,000 16,000 The aggregate value of transactions and outstanding balances relating to key management personnel and entities over which they have control or significant influence were as follows: Tainui Stephens 15,800 16,000 Andrew Cornwell 16,000 16,000

Transaction Value Balance Outstanding Vanessa Alexander 16,000 16,000 Year Ended 30 June Year Ended 30 June Shane Simpson 15,800 15,600 2009 2008 2009 2008 Wendy Palmer 16,000 16,000 $ $ $ $ 151,400 151,600 Transaction

(i) Tainui Stephens: Board member - $15,000 (2008=$15,648) was paid to the Chair of the Sales Agency Advisory Committee who is not a member of the board. Advanced Development financing 47,700 0 0 0 $10,000 (2008=$22,500) was paid to the Chair of the Film Fund 2 Committee who is not a member of the (ii) Vanessa Alexander: Board member - board. Industry Infrastucture + professional No other payments have been made to committee members appointed by the Board who are not Board Members. development 120,378 0 378 0 The NZFC has effected Directors and Officers Liability and Professional Indemnity insurance cover during the financial year in respect of the liability or costs of Board members and employees. (iii) Vanessa Alexander: Board member - Script Development 20,000 0 0 0

(iv) Tainui Stephens - Board Member - production financing 0 766,668 0 0

(v) Vanessa Alexander: Board Member - post production financing 0 38,119 0 0 (vi) Juliette Veber: - post production financing 0 25,000 0 0

(i) Tainui Stephens, Board member, is the Executive Producer of Belinda’s Notes. (ii) Vanessa Alexander, Board member, is also Chair of Script-to-Screen an independent trust which develops the craft and culture of storytelling for the screen. (iii Vanessa Alexander, Board member, is writer/producer of the feature film project One Man & His Dog

No provision has been required nor any expense recognised for impairment of receivables from related parties (2008=NIL)

44 Notes to the Financial Statements 45 NZ FILM COMMISSION ANNUAL REPORT 08/09

24. EMPLOYEE REMUNERATION 26. EVENTS AFTER BALANCE DATE There were no significant events after balance date. During the year, the number of employees of the NZFC, not being members, who received remuneration and other benefits in excess of $100,000 were: 27. CATEGORIES OF FINANCIAL ASSETS AND LIABILITIES The carrying amounts of financial assets and liabilities in each of the NZ IAS 39 categories Number of Employees are as follows: 2009 2008

Remuneration 2009 2008 $230,000 - $240,000 0 1 $ $ $190,000 - $200,000 1 0 Loans and receivables $160,000 - $170,000 0 1 Cash and cash equivalents 3,681,197 7,117,097 $140,000 - $150,000 1 0 Trade and other receivables 3,678,045 1,929,193 $130,000 - $140,000 2 0 Investments - term deposits 12,509,616 20,200,000 $120,000 - $130,000 0 1 19,868,859 29,246,290 $110,000 - $120,000 0 2 4 5 Financial liabilities measured at amortised cost Trade and other payables 1,797,817 2,010,543 During the year ended 30 June 2009, no employees received compensation and other benefits in relation to cessation. No Board members received compensation or other benefits in relation to cessation (2008 Project Commitments 8,811,312 16,414,202 = 0) The CEO position changed during the year and the Deputy CEO fulfilled the CEO role for six months Film Income 192,963 188,876 before the role was filled. This accounts for the changes to the salary band. 10,802,093 18,613,621

25. RECONCILIATION OF NET CASH FLOWS FROM OPERATING ACTIVITIES 28. MAJOR BUDGET VARIANCES WITH THE NET SURPLUS FOR THE YEAR

Budgeted revenue and expenditure assumed receipt and disbursement of $11.7M of SPIF 2009 2008 grants by NZFC, in its role as administrator of the scheme. $ $ In the period no final applications for SPIF grants were processed, so no SPIF revenue was Net Surplus (1,677,115) (1,452,305) provided by the Crown, and no SPIF grants were paid out. Add back: Non Cash Items Total income (excluding SPIF grants) was $21.07M, 18% higher than budgeted. This was almost completely due to feature film project writebacks, Loss on Disposals 0 4,124 totalled $2.77M. Of this total writeback 84.41% relates to reductions in financing offers to two Doubtful Debts 167,334 feature films: Separation City and Matariki. Bad Debts Written Off (47,105) Total expenditure (excluding SPIF grants) was $22.679M, 5.7% higher than budgeted. The overspend was primarily feature film production financing, Depreciation and Amortisation 201,113 226,666 and was possible because of the level of reserves carried forward at the beginning of the (1,355,773) (1,221,515) financial period, which had been specificallytagged by the Movements in Working Capital NZFC towards production financing.

(Decrease) Increase in Accounts Receivable after excluding Capital Items (581,705) (47,175)

Decrease (Increase) in Accounts Payable after excluding Capital Items 17,506 (584,735) Decrease (Increase) in Employee Entitlements (15,274) 14,376 Decrease (Increase) in GST Payable 689,467 (59,690) Decrease (Increase) in Finance Lease 13,237 0 Decrease (Increase) in Film Income Account 190,894 369,645 Decrease (Increase) in Project Commitments 7,602,890 (4,807,641) Total Movements in Working Capital 7,917,015 (5,115,220) Net Cash Flows from Operating Activities (9,272,788) 3,893,705

46 Notes to the Financial Statements 47 NZ FILM COMMISSION ANNUAL REPORT 08/09

REPORT AGAINST PERFORMANCE MEASURES

Statement of Service Performance 2008/2009 for the year ended 30 June 2009

GOALS OUTPUTS Performance TARGETS 08/09 ACHIEVEMENTS 08/09 GOALS OUTPUTS Performance TARGETS 08/09 ACHIEVEMENTS 08/09 measures at 30 June 2009. measures at 30 June 2009. 3. To maximise the 3. Funding and 7. Number of 7. Two feature films every Achieved. 4 films in 3 years. 1. To create 1. Funding to enable 1. Number of NZ 1. Investment in at least Achieved. Seven films offered production financing: domestic profile promotional support feature films with 3 years with NZ cinema 06-07: Out of The Blue 118,000; Eagle v Shark significant cultural development and feature-length 4 feature-length films of New Zealand 101,000 1. Home By Christmas for the domestic theatrical success audiences in excess of capital with quality production financing films from NZFC funding feature films and releases of NZ feature in NZ 100,000, and an additional 07-08: 2nd Hand Wedding 188,000 New Zealand films of a diverse range of programmes including 2. After The Waterfall the NZ public’s films two every 3 years with 08-09: Topp Twins, 177,000 quality film projects debut, specialist, low- 3. Falling Angels access to them audiences in excess of Achieved. 2 films in 3 years. that meet funding budget, digital, and SPIF 50,000 06-07: Black Sheep: 72,000. 4. Predicament criteria and create co-investment Tattooist: 51,000 cultural capital 5. The Volcano 07-08. nil. 08-09: nil 6. Hopes and Dreams 8. Strength of 8. All cinema features to Achieved 7. Brother Number One relationships have NZ theatrical market 1. Home By Christmas: Metropolis with distributors or festival attachment 2. Quality measured 2. 80 per cent of feature- Achieved and exhibitors prior to greenlight 2. After The Waterfall: Rialto against the length films to meet as shown by 3. Falling Angels: Metropolis decision matrix expectations set when NZ market 4. Predicament: Rialto the production was attachments greenlit; this target will 5. The Volcano: Transmission be assessed by taking the 6. Hopes and Dreams: Rialto annual average over the 3-year period 06/07 to 7. Brother Number One: Arkles 08/09 9. Visibility of NZ 9. Grants for prints and Achieved. 3. Films to reflect 3. All films to reflect NZ Achieved. feature films advertising appropriate 6 released theatrically with P&A support: cultural diversity culture or interests in theatrical to each feature film of NZ or sense of marketplace as released and least 2 Apron Strings; Rain of the Children; Show of Hands; Rubbings From a Live Man; Dean Spanley; Topp Actual cost: place supported by new distribution support p&a grants and mechanisms Twins. No new distribution support mechanisms in $12,464,000 4. Level of 4. Maintain number of Maori Achieved. new distribution the period. Expected cost: participation by key creatives and support support $21,770,000 [includes Maori measured by for Te Paepae Ataata mechanisms SPIF grant of $11.7m] annual survey 10. Digital feature 10. Release 20 classic titles Not achieved: 29 titles remastered in the period. 8 Actual cost: film restoration on DVD by 30 June 2009 titles released to the public. 2. To build a talent 2. Funding and 5. Number of 5. Funding for 9 short Achieved. 9 Short film commitments at 30 June 2009 $669,000 scheme pathway professional services successful short films, with 40% earning with 14/24 selected for A list festivals: 58% Expected cost: 11. New short film 11. Website developed by 30 Not achieved. to create development films selection in A list festivals: $1,027,000 website June 2009 opportunities for this target will be scriptwriters, assessed by taking the directors and annual average over the 4. To maintain a 4. Marketing and sales 12. Positive feedback 12. Effective launch of each Achieved. New features launched at Toronto (Dean producers, and 3-year period 06/07 to high international of NZ films at major on the NZFC sales film handled by NZ Film Spanley, Apron Strings), AFM (Show of Hands), provision of specialist 08/09 profile for international markets agency NZ Film as at relevant international Berlin/Rotterdam (The Strength of Water), and script development New Zealand films and festivals monitored by Sales markets Cannes (Under the Mountain). services and filmmakers Agency Advisory 6. Number of 6. Support 10 professional Exceeded. Committee professional development initiatives in 1. Rob Ritchie – Writing for the Big Screen 13. Number of 13. 60% of feature films Achieved. development partnership with industry Workshop w/ Script to Screen. productive handled by NZ Film to opportunities groups and producers relationships with achieve ‘A’ list festival 2. Tom Abrams Mise-en-Scene workshop w/- the A list festivals launch; this target will be Directors Guild. assessed by taking the 3. Cinemart in partnership w/- Rotterdam FF, annual average over the Binger & Screen Australia. 3-year period 06/07 to 4. No Borders partnership with Film Victoria and 08/09. the New South Wales FTO. 14. Number of 14. Assistance to enable 12 Achieved. 13 Producers supported. 5. The Business of Development / SPADA producers assisted producers to participate at 4 to AFM: markets 6. WIFT Mentoring Harold Brodie, Rob Rowe, Jason Stutter, Raybon 7. Women in the Director’s Chair - – Banff Centre Kan. 8. SPIF Workshop w/- SPADA 3 to SpaaMart: 9. ACE (The European Producer’s Network) Arani Cuthbert, James Heyward, Leanne Saunders. Actual cost: 10. Rewrite Workshop in partnership this year with Actual cost: 1 to 37-South: $4,633,000 Screen Australia. $1,493,000 Catherine Fitzgerald. Expected cost: 11. Melbourne International Film Festival Expected cost: 5 to Cannes: Richard Fletcher, Robin Murphy, Craig $5,140,000 Accelerator Programme $1,467,000 Newland, Robin Laing, Jonathan King,

48 Statement of Service Performance 49 NZ FILM COMMISSION ANNUAL REPORT 08/09

GOALS OUTPUTS Performance TARGETS 08/09 ACHIEVEMENTS 08/09 measures at 30 June 2009. Audit Report 5. To maintain strong 5. Funding support for 15. Number of 15. At least 5 joint ventures Achieved To the readers of the New Zealand Film Commission’s financial statements and statement of service stakeholder infrastructure such as joint ventures with guilds, associations, 1. SPADA conference/SPADA relationships guilds, organizations, with guilds, film festival and performance for the year ended 30 June 2009 film festivals and the associations, govt government/agency 2. Qantas Screen Awards/SDGNZ NZ Film Archive. agency partners partners and the NZ Film 3. SPADA Business of Development Seminar/ and the NZ Film Archive SPADA Archive 4. SPIF SEMINARS/SPADA 5. Tom Abrams/SDGNZ The Auditor‑General is the auditor of the of the financial statements and statement of performance and reporting that opinion to 16. Efficient 16. Publication of 6 Achieved. New Zealand Film Commission (the service performance. If we had found material you. This responsibility arises from section Actual cost: communication newsletters and regular Commission). The Auditor‑General has appointed misstatements that were not corrected, we 15 of the Public Audit Act 2001 and the Crown $1,020,000 of information updating of website me, Leon Pieterse, using the staff and resources would have referred to them in our opinion. Entities Act 2004. Expected cost: & promotional of Audit New Zealand, to carry out the audit. The audit involved performing procedures to $1,000,000 material The audit covers the financial statements and test the information presented in the financial Independence statement of service performance included statements and statement of service When carrying out the audit we followed in the annual report of the Commission for performance. We assessed the results of 6. To maintain 6. Efficient and 17. Governance and 17. the independence requirements of the the year ended 30 June 2009. those procedures in forming our opinion. standards of accountable best practise Auditor‑General, which incorporate the good governance, administration of demonstrated by Audit procedures generally include: independence requirements of the Institute of business practise public funding a. audit report a. Clean audit report a. Achieved: October 2008 Unqualified Opinion • determining whether significant financial Chartered Accountants of New Zealand. and accountability b. risk management b. Annually reviewed risk b. Not Achieved. Risk management strategy not In our opinion: and management controls are working and Other than the audit, we have no relationship strategies are management strategy reviewed in 2008/09 due to change in CEO and • The financial statements of the Commission can be relied on to produce complete and with or interests in the Commission. effective demonstrates that pending changes to Board in the period. on pages 29 to 47: accurate data; strategy is effective – comply with generally accepted • verifying samples of transactions and c. effective c. Annual commentary from c. Achieved accounting practice in New Zealand; and account balances; operation of Board Committee chairs – fairly reflect: • performing analyses to identify anomalies Board committees reporting satisfactory in the reported data; • the Commission’s financial position as SAAC, F&A, performance • reviewing significant estimates and Development) at 30 June 2009; and judgements made by the Board; • the results of its operations and cash d. government d. MCH satisfied NZFC Achieved. Reporting completed August 2009. • confirming year-end balances; Leon Pieterse flows for the year ended on that date. Audit New Zealand accountability has met reporting • determining whether accounting policies requirements met requirements • The statement of service performance of On behalf of the Auditor‑General the Commission on pages 48 to 50: are appropriate and consistently applied; and Wellington, New Zealand – complies with generally accepted 18. Effective 18. Positive response on Achieved. Film NZ confirms that exit surveys show accounting practice in New Zealand; and • determining whether all financial statement administration of LBSPG from all exit no issue with administration of LBSPG. – fairly reflects for each class of outputs: and statement of service performance LBSPG measured surveys disclosures are adequate. Matters Relating to the Electronic Presentation by positive • its standards of delivery performance We did not examine every transaction, nor of the Audited Financial Statements and feedback from Exit achieved, as compared with the do we guarantee complete accuracy of the Statement of Service Performance Surveys and MED forecast standards outlined in financial statements and statement of service This audit report relates to the financial Actual cost: 19. Effective 19. Positive feedback from Achieved the statement of forecast service performance adopted at the start of performance. statements and statement of service $2,563,000 administration of MCH performance of the New Zealand Film the financial year; and We evaluated the overall adequacy of the Expected cost: SPIF as monitored Commission for the year ended 30 June 2009 by MCH • its actual revenue earned and output presentation of information in the financial $2,745,000 statements and statement of service included on the New Zealand Film Commission’s expenses incurred, as compared with website. The New Zealand Film Commission’s performance. We obtained all the information the forecast revenues and output Board is responsible for the maintenance and expenses outlined in the statement of and explanations we required to support our integrity of the New Zealand Film Commission’s forecast service performance adopted opinion above. website. We have not been engaged to report on at the start of the financial year. the integrity of the New Zealand Film The audit was completed on 31 October Responsibilities of the Board Commission’s website. We accept no 2009, and is the date at which our opinion is responsibility for any changes that may have and the Auditor occurred to the financial statements and expressed. The Board is responsible for preparing the statement of service performance since they The basis of our opinion is explained below. financial statements and statement of service were initially presented on the website. In addition, we outline the responsibilities of performance in accordance with generally The audit report refers only to the financial the Board and the Auditor, and explain our accepted accounting practice in New Zealand. statements and statement of performance independence. The financial statements must fairly reflect named above. It does not provide an opinion on Basis of Opinion the financial position of the Commission as at any other information which may have been 30 June 2009 and the results of its operations hyperlinked to or from the financial statements and statement of service performance. If readers We carried out the audit in accordance with and cash flows for the year ended on that of this report are concerned with the inherent the Auditor‑General’s Auditing Standards, date. The statement of service performance risks arising from electronic data communication which incorporate the New Zealand Auditing must fairly reflect, for each class of outputs, they should refer to the published hard copy of Standards. the Commission’s standards of delivery the audited financial statements and statement of We planned and performed the audit to obtain performance achieved and revenue earned service performance as well as the related audit all the information and explanations we and expenses incurred, as compared with the report dated 31 October 2009 to confirm the considered necessary in order to obtain forecast standards, revenue and expenses information included in the audited financial reasonable assurance that the financial adopted at the start of the financial year. The statements and statement of service statements and statement of service Board’s responsibilities arise from the Crown performance presented on this website. performance did not have material mis– Entities Act 2004 and the New Zealand Film Legislation in New Zealand governing the statements, whether caused by fraud or error. Commission Act 1978. preparation and dissemination of financial Material misstatements are differences or We are responsible for expressing an information may differ from legislation in omissions of amounts and disclosures that independent opinion on the financial other jurisdictions. would affect a reader’s overall understanding statements and statement of service

50 Audit Report 51 NZ FILM COMMISSION ANNUAL REPORT 08/09

O Le Tulafale aka The Orator...... $25,000 Fresh As...... $15,000 Blueskin Films New Holland Pictures NZ Catherine Fitzgerald Mark Overett and Emma Slade Tusi Tamasese Justine and Paul Simei-Barton Kinetica aka The Last Saint...... $20,000 Justine Simei-Barton Reservoir Films The Fox Boy...... $15,000 Matthew Horrocks Kea Films Rene Naufahu Cliff Curtis and Bill Gavin Appendix Crazy...... $20,000 Briar Grace-Smith Great Southern Film & Television tbc Rachel Gardner Silvertops...... $16,500 Mike Smith Inspire Films The Man in the Dark...... $20,000 Catherine Juniot and Kim Baker Isola Productions Robert Johnson and Christopher Webb A/ New Feature films with investment from NZFC D/ NZFC development finance for feature film projects Rachel Jean Louis Sutherland Home by Christmas Damon Fepulea’i KM...... $5,000 Staff Commitee After the Waterfall $2,555,000 Projector Room...... $19,000 Frame Up Films Beyond the Known World...... $20,000 Predicament $2,500,000 Southern Light Films Owen Hughes Hope and Dreams $2,550,000 Reservoir Films Tim White Stuart Hoar Brother Number One Matthew Horrocks Jesse Warn tbc Falling Angels Dianne Taylor One Man and His Dog...... $20,000 Boy aka The Volcano $250,000 tbc Shopping...... $20,000 Sticky Pictures Collective Vision Rockinghorse Road...... $20,000 B/Feature films with additional investment from the NZFC Robin Murphy Zane Holmes n/a Great Southern Film & Television Louis Sutherland and Mark Albiston Vanessa Alexander Angela Littlejohn tbc C/ Digital features with post-production grants from the NZFC Brian Challis One of Us...... $20,000 Diva Productions Death or Milton...... $10,000 Hell for Breakfast...... $12,000 and $5,402 Arani Cuthbert Certain Scenes Key: Gibson Group Rhys Cain Production company Norelle Scott Dave Gibson Chris Dudman Scott Boswell, Derryn Beath Producer(s) Briar Grace-Smith Scott Boswell Writer(s) tbc Make a Joyful Noise...... $6,000 Director(s) or writer/director(s) Inspire Films Shopping...... $5,000 Amatu...... $7,500 Catherine Juniot and Kim Baker Five Finger Films

Headstrong & Butobase Russel Campbell Robin Murphy The Map Reader $21,265 Glenn Elliott, Leanne Saunders, Ant Timpson tbc Louis Sutherland and Mark Albiston n/a Matthew Saville Almost a Million...... $20,000 John Davies Marc & Paul Swadel There Were Brave Men before Agamemnon...... $20,000 Blueskin Films Harold Brodie Firesign Summer Rhapsody...... $20,000 Michael Wrenn Catherine Fitzgerald The Art Star and the Sudanese Twins...... $10,000 Headstrong Dane Giraud Gillian Ashurst Pietra Brettkelly Leanne Saunders, Ant Timpson This Little Light...... $8,000 Pietra Brettkelly Stephen Kang A Gift to Zion...... $5,000 and $15,000 New Holland Pictures NZ Pietra Brettkelly Kura Productions A Bullet Waits for You...... $12,000 Quinton Hita Mark Overett + Angela Littlejohn The Third Richard...... $25,000 Direct Effect Tearepa Kahi Paula Whetu Jones Rollover Productions Sue Thompson Danny Mulheron & Sara Stretton Andrew McKenzie Missu Peace...... $20,000 Chief Executive delegations Danny Mulheron Albedo Films Mystery Ride...... $6,000 and $4,000 A Life in Romance...... $5,000 Danny Mulheron & Sara Stretton Maile Daugherty and Peter McCully Ellis Bell Inc Firesign Grant Hindin Miller The Devil’s Run...... $25,000 Tim White and Vanessa Alexander Michael Wrenn tbc Six String Pictures Maxine Fleming Vanessa Alexander Tom Hern Virginia Heath Long Black Coat...... $20,000 The Most Fun You Can Have Dying...... $20,000 James Napier Robertson Eek Productions Poppy...... $17,400 Chocolate Fish Pictures Kristian Eek Taking the Waewae Express ...... $1940 Alex Cole-Baker Oliver Giles Productions Jon Coutts Torchlight Films Kirstin Marcon Glenis Giles tbc Andrea Bosshard, Shane Loader, Deane Cronin Linda Niccol Belinda’s Notes...... $20,000 Andrea Bosshard, Shane Loader Responsibility aka Surfacing...... $20,000 The Lazy Boys...... $19,000 MF Films Andrea Bosshard, Shane Loader Firesign Michele Fantl Firesign Michael Wrenn No Petrol, No Diesel!...... $15,000 Dorthe Scheffmann Michael Wrenn Brendan Donovan and Shane Danielsen Darkhorse Carl Shuker Brendan Donovan Great War for Civilization Stefen Harris Brendan Donovan (aka Matthew Metcalfe Untitled)...... $20,000 Criminally Inclined...... $17,000 Barry Barclay - Camera on the Shore...... $15,000 Gilbert’s Trip...... $20,000 General Film Corporation inKubator Anne Keating Agency Matthew Metcalfe Midnight Film Productions Paula M Jones Anne Keating Roger Donaldson and Alan Sharp Sue Rogers Mukilan Thangamani and AliAsgar Millwala Graeme Tuckett Roger Donaldson Jason Stutter Alex Lee This Way of Life...... $13,000 The Originals...... $9,379 Land of Tears (aka Wild Pork and Watercress/Puha)...... $20,000 Kiwi Flyer...... $17,000 Cloud South Film & TV Blindside Productions Wild Pork Torrent Films Barbara Sumner Burstyn Robin Laing and Charlie McClellan Tony Simpson Tom Burstyn Taika Waititi Graeme Tetley Andrew Gunn Mark Joffe The Man in the Hat...... $13,500 Crime Script...... $12,000 tbc BWX Productions Fresh As...... $5,000 White Balance Pictures Pinewood ‘85...... $20,000 Jan Bieringa New Holland Pictures NZ David White Chopper Productions Luit Bieringa Emma Slade and Mark Overett Shane Mannell and David White Michelle Turner Charlie Haskell Justine and Paul Simei-Barton Lost in Wonderland...... $9,300 Ellory Elkayem Justine Simei-Barton Lone Pine Film and TV Productions Live Bodies...... $10,000 Midnight Golfer...... $20,000 Costa Botes Shopping...... $750 n/a Elevenmedia Zoe McIntosh Five Finger Films Jonothan Cullinane Karl Zohrab Jonothan Cullinane Robin Murphy Luke Hedley and Christopher Nicholls Louis Sutherland and Mark Albiston tbc

52 Appendix 53 NZ FILM COMMISSION ANNUAL REPORT 08/09

Development Committee The Great War for Civilisation Amadi ...... $100, 000 IndiVision...... $26,648 Death of a Superhero...... $30,000 and $40,000 (aka Matthew Metcalfe Untitled)...... $30,000 Producer: Owen Hughes Women in the Director’s Chair...... $21,693 Miracleman Productions General Film Corporation Director/writer: Zia Mandviwalla CineMart & Rotterdam Lab...... $55,773 Matthew Metcalfe Angela Littlejohn Executive Producers Berlin Talent Campus...... $6,000 Anthony McCarten Roger Donaldson & Matthew Metcalfe Kura Shorts- Quinton Hita and Tearepa Kahi Wowing the Buyers distribution seminar...... $30,109 Roger Donaldson ACE ...... $18,899 The Beach of Falesa...... $25,132 The Winter Boy...... $100, 000 Cousins...... $45,000 Rewrite Workshop ...... $37,496 Escapade Pictures Producer: Hineani Melbourne Rob Ritchie ‘Writing for the Big Screen’ workshop...... $8,708 Philippa Campbell Pairama Pictures Limited Director: Rachel House Rhonda Kite and Robin Laing Joint initiatives Alan Sharp and Toa Fraser Writer: Kylie Meehan Tom Abrams mise en scene workshop...... $33,415 Toa Fraser Patricia Grace Gaylene Preston The Medal ...... $100, 000 Eurista ‘Business of Development’ seminar...... $18,600 The Straggler aka Now Is the Hour...... $17,000 Producer: Carne Bidwill Te Paepae Ataata Writers’ Hui ...... $23,300 Nom de Guerre Films E/ Devolved Development Funds Director: James Barr WIFT mentorship...... $9,260 Michael Wrenn South Pacific Pictures (John Barnett)...... $100,000 Writer: Simon Paniora Jonathan Ogilvie and Robin Neate N/ Industry Infrastructure support Desert Road and Everard Films Kui’s Leg...... conditional offer at balance date Jonathan Ogilvie Film NZ...... $40,000 (Steven O’Meagher & Barrie Everard)...... $200,000 Producer: Chelsea Winstanley New Zealand Film Archive...... $210,000 Here at the End of the World We Learn to Dance...... $20,000 Director: Tim Worrall Eyeworks Touchdown Films Nga Aho Whakaari...... $55,000 Deep-Pond Writer: Paora Te Oti Takarangi Joseph (Robin Scholes and Matthew Metcalfe)...... $200,000 NZ Writers Guild...... $75,000 Dan Hennah, Barrie Osborne Executive Producers NZF&VTG...... $20,000 Kathryn Burnett F/ Producer Overhead Funds Robbers Dog Shorts- Kristian Eek, Mark Foster and Adam Stevens Script to Screen...... $108,000 Dan Hennah Blondini Brothers (Kerry Robins)...... $50,000 Monifa...... $100, 000 SDGNZ...... $95,000 O le Tulafale aka The Orator...... $48,000 Meridian Film Productions (Robin Laing)...... $50,000 Producer: Anna Stuart SPADA...... $90,000 Blueskin Films Great Southern Film (Rachel Gardner, Angela Littlejohn)...... $50,000 Writer/director: Luke Savage WIFT NZ...... $55,000 Headstrong (Leanne Saunders, Ant Timpson) (extension)...... $50,000 Catherine Fitzgerald Bird...... $100, 000 48 Hour Film Festival...... $15,000 Elevenmedia (Karl Zohrab) (extension)...... $50,000 Tusi Tamesese Producer: Rachel Gardner New Zealand International Film Festival...... $75,000 New Zealand Screen Awards...... $50,000 Two Little Boys...... $30,000 G/ Writer Awards Director: Jane Shearer NZ Federation of Film Societies...... $15,000. Nightmare Productions Graeme Tetley...... $50,000 Writers: Greg King, Jane Shearer and Steve Ayson Show Me Shorts Film Festival...... $5,000 Vicky Pope Shuchi Kothari...... $50,000 Little Angel (aka Sweetness)...... $100, 000 Robert and Duncan Sarkies Wairoa Maori Film Festival ...... $20,000 H/ Producers’ market assistance Producer: Annelise Yarrell Robert Sarkies Writer/Director: Suzi Jowsey-Featherstone O/New Zealand theatrical distribution support Behind the Tattooed Face...... $10,000 37 South Market Melbourne Rialto for Apron Strings...... $46,119 Polywood Productions Inc Catherine Fitzgerald...... $2,000 L/ Grants from Screen Innovation Production Fund (a joint venture between Rialto for Rain of the Children...... $37,385 Rena Owen and Gary Hannam To the AFM the NZFC and Creative New Zealand) Rialto for Show of Hands...... $78,452 Tom Reilly...... travel grant...... $4,580 Rena Owen and Riwia Brown Harold Brodie...... $2,000 Arkles for Rubbings from a Live Man...... $5,000 Daniel Belton...... travel grant...... $5,000 tbc Raybon Kan...... $4,530 Paramount for Dean Spanley...... $101,862 Albedo VFX...... short film...... $15,000 Robert Rowe...... $2,000 Rialto for Topp Twins : Untouchable Girls...... $101,855 Capsized...... $36,000 Rodney Bridgeman/Lloyd Davis...... two experimental short films...... $3,960 Sue Thompson...... $5,000 Hoyts for Separation City...... $88,801 Making Movies Wiebke Hendry...... documentary...... $14,645 James Heyward To Cannes Michael Donovan...... short film...... $19,965 P/ Certification as New Zealand film for purposes of the Income Tax Act Stephanie Johnson Craig Newland...... $7,500 Alyx Duncan...... experimental documentary...... $17,905 Final Mark Joffe Jonathan King...... $5,000 Thomas Gleeson...... short documentary...... $9,000 Second Hand Wedding Richard Fletcher...... $7,500 Miramar Dog...... $28,000 Dean Hapeta...... rapumentary...... $12,000 35mm feature film Robin Laing...... $7,500 Miramar Dog Films Julie Hill...... documentary...... $18,370 Garage Sales Productions Ltd Robin Murphy and Kerry Robins Robin Murphy...... $7,500 Damon Keen...... short film...... $14,050 Waiting for You Nick Ward and Pat Robins To Montreal Popo Lilo...... short film...... $25,000 Digital feature film Paul Murphy Angela Littlejohn...... $5,000 Kirsty MacDonald...... post production documentary.... $11,500 Jim Marbrook...... documentary...... $24,900 Dube Film Production Ltd The Lazy Boys...... $20,000 To Berlin Octopus Pictures/Alexandra Porter..documentary...... $25,000 Firesign Fiona Copland...... $5,000 Q/Productions certified as official co-productions Rick Harvie...... short film...... $24,950 Michael Wrenn and Matt Noonan To Toronto Paul Wedel...... experimental short film...... $5,770 Final Carl Shuker Rachel Gardner...... $5,000 Whaiora...... digital feature...... $16,560 Dean Spanley Brendan Donovan Greta Anderson...... short film...... $20,000 35mm feature film I/ Festival travel assistance for feature film directors Newland...... $15,000 Daniel Belton...... short animated film...... $20,050 General Film Corporation (Two Dogs) Ltd Official co-production between New Zealand and United Kingdom THE Film J/ Festival travel assistance for short film makers Costa Botes...... feature length documentary...... $7,000 Trevor Haysom Michelle Savill - Betty Banned Sweets...... Clermont-Ferrand...... $5,000 Rodney Bridgman...... video art project...... $6,567 Time Trackers Jodie Molloy Adam Strange - Aphrodite’s Farm...... Berlin...... $5,000 Kirsty Cameron...... short film...... $9,000 Television series - 13 half hour episodes tbc Anzak Tindall - Aphrodite’s Farm...... Berlin...... $5,000 Community Media Trust/ The Gibson Group Ltd Moana...... $20,000 Wiremu Grace - Kehua ...... Berlin...... $5,000 Rangimoana Taylor...... digital feature...... $25,000 Official co-production between New Zealand and Australia Wendy Cuthbert - The Six Dollar Fifty Man...... Cannes ...... $5,000 Godzone Picture...... feature film...... $25,000 Moana Productions Emilie Richards: Tales of the South Pacific Mark Albiston - The Six Dollar Fifty Man...... Cannes...... $5,000 James Hanline...... short film...... $15,000 Nik Beachman. Cliff Curtis, Kara Paewai, Merata Mita (1) Longing for New Zealand Louis Sutherland - The Six Dollar Fifty Man...... Cannes ...... $5,000 Isola Productions...... short film...... $25,000 Sima Urale (2) Paradise Rachel Lorimer - This Is Her...... Sundance ...... $5,000 Jamie Lawrence...... short film...... $20,000 The Cook...... $27,500 Two telemovies Katie Wolfe - This Is Her...... Sundance...... $5,000 On The Level Productions/Lyn Collie.feature documentary...... $13,000 Savuti Films GFC (Germany) Ltd Jason Stutter - Careful with that Axe...... AFI (Edinburgh/Valladolid/ Michelle Savill...... short film...... $25,000 Robin Laing, Sue Thompson (EP), Frank Toshack (EP) Official co-production between New Zealand and Germany Melbourne)...... $5,000 Paul Scott-James...... short film...... $14,600 Charlie McClellan Katie Wolfe - This Is Her...... Telluride & New York .$5,000 Sally Tran...... experimentary documentary...... $15,000 Provisional Board development decisions Jochen Fitzherbert - Bridge...... Valladolid ...... $4,935.53 Gabriel White...... online audio visual project...... $7,879 Emilie Richards: Tales of the South Pacific Errol Wright...... feature documentary...... $23,495 (1) Longing for New Zealand Marshal...... $16,500 K/ Short Film projects with production finance from the NZFC (2) Paradise Supercollider Executive Producers M/ Professional development Two telemovies Paul Swadel Big Shorts - Rob Sarkies and Vicky Pope NZFC initiatives GFC (Germany) Ltd Glenn Standring Eurista Tasmania ...... $35,582 Official co-production between New Zealand and Germany James Cunningham Hitched ...... $100, 000 Accelerator, Melbourne...... $16,476 Producers: Rachel Lorimer, Felicity Letcher Belinda’s Notes...... $47,700 1st Writers Initiative...... $51,538 Director: Katie Wolfe MF Films No Borders partnership...... $21,948 Writer: Branwen Millar Michele Fantl ‘Smashing the Window’ distribution seminar...... $36,266 Dorthe Scheffmann Meathead ……………………………………………...... ………………………… $100, 000 Binger Film Lab script development programme...... $20,000 Producer: Robin Scholes eQuinoxe, Germany...... $8,263 The Most Fun You Can Have Dying...... $18,060 Director/writer: Sam Holst SPAAmart...... $39,212 Chocolate Fish Pictures Alex Cole-Baker Kirstin Marcon

54 Appendix 55 NZ FILM COMMISSION ANNUAL REPORT 08/09

NZFC operational units and staff as at 30 June 2009

Corporate Graeme Mason Chief Executive Mladen Ivancic Deputy Chief Executive Sarah Cull Head of Business Affairs James Thompson Business Affairs Executive Erin Banks Business Affairs Assistant Shane Green Executive Manager and assistant to the Chief Executive Prue Clark Receptionist/Development Assistant Janka Palinkas Accountant Lauren Granshaw Accounts Assistant Dominique Fromont Film Income Manager

Production and development Marilyn Milgrom Head of Development Paul Swadel Development Executive Hone Kouka Development Executive Jeremy Macey Development Coordinator

Marketing and sales Kathleen Drumm Head of Sales and Marketing Jasmin McSweeney Marketing Executive Daniel Story Distribution Manager Sophie Cherry Distribution Assistant (temp) Juliette Veber Short Film Manager Lucy Cleary Short Film Assistant

Consultants Henrietta Hall ICT Consultant

www.nzfilm.co.nz PO Box 11-546, Wellington. Tel 04 382 7680.

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