Cinema Pasifika Developing the Narrative Film and Television Sector in the Pacific Island Region

Cinema Pasifika Developing the narrative film and television sector in the Pacific Island region

The Pasifika Collective

Cinema Pasifika

Developing the narrative film and television sector in the Pacific Island region

The Pasifika Collective

Suva, Fiji 2016

All rights for commercial/for profit reproduction or translation, in any form, reserved. SPC authorises the partial reproduction or translation of this material for scientific, educational or research purposes, provided that SPC and the source document are properly acknowledged. Permission to reproduce the document and/or translate in whole, in any form, whether for commercial/for profit or non-profit purposes, must be requested in writing. Original SPC artwork may not be altered or separately published without permission.

Original text: English

Pacific Community Cataloguing-in-Publication Data

Cinema Pasifika: developing the narrative film and television sector in the Pacific Island region / the Pasifika Collective

1. Cultural industries — Oceania. 2. Culture diffusion — Oceania. 3. Arts — Oceania. 4. Television in community development — Oceania. 5. Television — Oceania. 6. Motion pictures — Oceania. 7. Film genres — Oceania. 8. Motion picture plays — Oceania.

I. Title II. Pacific Community

791.4370995 AACR2

ISBN: 978-982-00-0954-7

Prepared for publication at SPC’s Suva Regional Office, Private Mail Bag, Suva, Fiji

2016

Contents

Acknowledgements ...... iv Disclaimer ...... iv 1. Executive summary ...... 1 2. Methodology ...... 3 3. Country snapshots ...... 4 a) Fiji ...... 4 b) Tonga ...... 7 4. Government support options ...... 9 a) Film Fiji − a film commission ...... 11 b) Informal support ...... 13 5. Value cycle analysis ...... 13 a) Development ...... 14 b) Production ...... 23 c) Promotion ...... 28 d) Distribution ...... 29 e) Consumption ...... 33 6. Current business models ...... 34 a) Independent feature films ...... 35 b) Fully subsidised productions ...... 36 c) Cottage industry ...... 39 d) Mixed funding ...... 42 e) Hobbyists ...... 44 7. Recommendations ...... 46 8. Appendices ...... 54 a) Interview list ...... 54 b) Cinema Pasifika − A Showcase of Short Films from the Pacific Islands ...... 57 c) Links to Pacific films ...... 59 d) Producer responsibilities check list (compiled by NZ independent producer, Catherine Fitzgerald) ...... 60 e) Budgets for Pacific film and TV productions ...... 64 f) Pacific film festivals ...... 68 g) Topic guide, questions and checklist ...... 73 h) Broken Wind Chime script – a short film written and directed by Regina Lepping ...... 76

iii

Acknowledgements

This report was commissioned by the Pacific Community (SPC) and was written by the consultant, Steve Menzies from The Pasifika Collective. The bulk of the research was undertaken by Koila Valemei, who is based in Suva, Fiji. Henley McKegg, from Allen and Clarke Policy and Regulatory Specialists Ltd, provided analysis of the policy environment for narrative film and television production in the Pacific region. Funding: Assistance for the mapping was provided by the Commonwealth Foundation.

Cover image: A still from the short-film Zori, produced by Microwave Films, Marshall Islands. Back cover image: A still from the television drama Grace, produced by Tribal Voice ArtsLink, Papua New Guinea Page 10: A still from the short-film Envy produced by Noob Productions, Fiji Page 26: A poster for the feature film Lañinbwil's Gift produced by Microwave Films, Marshall Islands Page 33: A photograph from the set of the television drama Love Patrol produced by Wan Smolbag, Vanuatu Page 35: A still from the television drama Grace by Tribal Artslink, Papua New Guinea Page 36: A publicity photo of Suzanne Chutaro and Jack Niedenthal from Microwave Films, Marshall Islands Page 38: A promotional photo from the television drama Silamanino by ETV Productions, Samoa Page 39: A still from the television comedy/drama Spice of Life produced by Arun Chakrovorthy and Amol Lal, Fiji Page 40: A publicity photo from the feature film Aliko & Ambai produced by the Centre for Social and Creative Media (CSCM), Papua New Guinea Page 42: A publicity shot of Regina Lepping (second from left) with cast members at the premiere of Broken Wind Chime in Honiara. Provided by Anouk Ride from Sukwadi Media Page 43: A publicity shot of Fijian filmmaker Clarence Dass kindly provided by the Pacific Media Assistance Scheme (PACMAS) Disclaimer

This report includes the views and recommendations of the consultant and does not necessarily reflect the views of SPC, or indicate a commitment to a particular policy or action. While reasonable efforts have been made to ensure the accuracy and reliability of the material in this report, SPC cannot guarantee that the information contained in the report is free from errors or omissions. SPC does not accept any liability, contractual or otherwise, for the contents of this report or for any consequences arising from its use.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

1. Executive summary

This report outlines how the Pacific Community (SPC) could work with relevant stakeholders to support the development of the narrative film and television (TV) industry in the Pacific Island region.

Narrative filmmaking and television production refers to the creation of fictional stories on film and video and includes feature films, short films, television dramas, soap operas, and docudramas that utilise narrative storytelling techniques.

The expansion of film and television production in the Pacific Island region has the potential to stimulate economic growth, strengthen cultural diversity and increase social dialogue.

In this research project, over 90 stakeholders were interviewed from seven Pacific Island countries: Fiji, Samoa, Tonga, Vanuatu, Solomon Islands, Papua New Guinea and Marshall Islands. A value cycle analysis was then used to identify strengths, weaknesses, opportunities and key recommendations for a possible development strategy for the narrative film and television sector in the Pacific region.

Over the last decade, the region has seen an increasing number of fictional film and television productions. Many young filmmakers have been inspired by the success of the Samoan-New Zealand feature film co-production, The Orator, and a number of small production companies are making narrative short and feature films on shoe-string budgets.

Pacific Island governments appear to have insufficient awareness or understanding of the benefits that could be provided by supporting local film and television production. Pacific filmmakers have increasingly been calling for greater support so that they can collaborate more effectively to access funds, tell their stories and stimulate the growth of a more sustainable film industry. However, it would appear that a sustainable industry will only start to emerge when Pacific Island governments, development partners and independent filmmakers can work together to support a development pathway that encourages producers to take a more commercially focused approach to the creation of film and TV products that local and international audiences are prepared to pay to see.

Donor agencies, such as Australia’s Department of Foreign Affairs and Trade have made significant investment into a few television productions. Future investment in this sector could be even more effective if it were focused on helping independent film and television producers to develop commercially viable marketing and distribution plans for their productions at the very start of the development stage in the value cycle.

The value cycle analysis in this report indicates that the major gap in the emerging narrative film and television sector in the Pacific Island region is at the very first development stage. While there is clear evidence of an emerging cottage industry, targeted investment and support are needed to enable production companies to develop the creatively compelling and commercially viable proposals that are needed to unlock regional and international distribution and sales opportunities.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

The recommendations in this report are based on the following key findings: 1. GREATEST ASSET: The Pacific Island region is rich in unique stories and it also possesses much of the raw talent needed to transform these stories into commercially viable film and television products. 2. BIGGEST GAP: There is currently almost no awareness of the need to invest time and resources in creating commercially viable products that will appeal to a wider-paying audience at a national, regional and international level. 3. GREATEST NEED: In order to have any chance of developing the narrative film and television sector in the Pacific, there is an urgent need to develop a regional body or association that can effectively represent the needs and goals of its collective membership.

The recommendations are summed up below.

1. Create a regional film and television association that could support the development of a clear manifesto, roadmap and development plan for the narrative film and television sector in the Pacific. 2. Invite interested film and television producers and directors, and key stakeholders to apply for the opportunity to attend a regional workshop with their peers from the world of independent narrative film and television production. 3. Directly support producers and directors to access seed funding. 4. Develop a competitive short film fund for the region. 5. Encourage Film Fiji to take a regional leadership role in the development of the narrative film and television sector in the Pacific. 6. Support national development plans for the narrative film and television sectors in Pacific Island countries.

Perhaps the best way to boost the narrative film and television sector in the Pacific region is to encourage stakeholders to support the production of a collaborative, regional television drama based on a carefully planned development, marketing and distribution strategy. The development of such a flagship production could signal real intent to support this emerging creative industry, and it would directly demonstrate the need to combine both creative and commercial considerations in the wider development of the film and television sector in the Pacific region.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

2. Methodology

The key aim of this research was to develop a picture of the narrative film and television industry, both in individual countries and throughout the Pacific Island region. Data were collected from qualitative interviews with approximately 90 filmmakers and stakeholders, regarding the key challenges and opportunities for encouraging the growth of the narrative film and television sector.

The research focused on seven countries: Fiji, Samoa, Tonga, Vanuatu, Solomon Islands, Marshall Islands, and Papua New Guinea. Additional interviews were undertaken with selected filmmakers and stakeholders from Cook Islands, Palau, Hawaii, New Zealand, Australia and United Kingdom. Because statistics and other quantitative information are largely absent in this sector, key assets and resources were also ‘mapped’ by means of a structured checklist.

The qualitative interviews focused primarily on those Pacific Island filmmakers who have produced narrative short films, features, TV dramas, soaps and docudramas. These interviews were designed to determine the current context for narrative filmmaking and the barriers and opportunities for developing the sector as perceived by these filmmakers.

A value cycle analysis was used to identify strengths, weaknesses, opportunities and key recommendations for a possible development strategy. This analysis attempted to consider what could be realistically and cost-effectively done to add the greatest value to the sector at each stage of the cycle.

1. Development

5. Consumpon 2. Producon

4.Distribuon 3. Promoon

1. Development refers to the creative, financial and organisational development process prior to production. This stage also refers to the way any generated learning and financial resources are reinvested into the commercially sustainable development of any new creative ideas.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

2. Production refers to all pre- and post-production activities, such as scouting locations, casting, filming and editing.

3. Promotion refers to the process of marketing the product.

4. Distribution refers to the means by which the paying audience is able to access the production via theatres, DVDs, TV and online platforms.

5. Consumption refers to the audience that is paying to see the film or television production. It also refers to the response from audiences and how this shapes the development of future productions.

3. Country snapshots

The narrative film and TV sector in the Pacific Island region is currently undeveloped, and there is limited evidence of a local commercial industry focused on the production of dramatic content. The level of narrative filmmaking activity varies considerably across countries, but there are pockets of encouraging activity in all the seven Pacific Island countries surveyed.

Fiji and Samoa demonstrated the most diverse activity, while the narrative filmmaking activities in most of the other countries appear to be largely dominated by single production companies or institutions, e.g. Solomon Islands (Sukwadi Media), Vanuatu (Wan Smolbag), Papua New Guinea (The Centre for Social and Creative Media) and Marshall Islands (Microwave Films).

While Tonga showed evidence of sporadic activity, it was very difficult to identify any examples of dramatic narrative content that had been produced by local independent filmmakers. Rather than provide summaries of all the countries, this section is designed to provide a brief overview of the context and narrative filmmaking activity in two countries at either end of the spectrum: Fiji and Tonga.

a) Fiji

Background Fiji’s film industry is still in its early stages with a handful of potential local filmmakers busy making docodramas, documentaries and short films. There has only been one feature-length film of note. It was written and directed by Professor Vilsoni Hereniko. The Land Has Eyes became Fiji’s official 2005 submission to the Academy Awards® in the foreign language category.

Film Fiji Film Fiji is a government agency that was established by the Film Fiji Act of 2002 to promote and develop Fiji’s audio-visual industry, locally and internationally. Its stated vision is to make Fiji the audio-visual hub of the South Seas and its mission is to ‘move Fiji towards audio-visual excellence via a dynamic convergent industry, creating great economic opportunities for all’ (film-fiji.com).

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Fiji is now attracting a number of international film and television productions because of the 47 per cent film tax rebate that is administered by Film Fiji. The rebate is ‘a cash subsidy offered to fully funded productions that come to Fiji to film’. The rebate is 47 per cent of the ‘Qualifying Fiji Production Expenditure (QFPE)’ and is paid by the Fiji Government after a production is completed (film-fiji.com).

From 2013 to 2014, the number of foreign productions made in Fiji increased from 28 to 52. In 2014, the budget for all the foreign productions in Fiji totalled FJD 19.5 million, of which FJD 15.5 million was actually spent in Fiji, approximately 79 per cent of the total production cost. It is estimated that in 2014, Fiji's entire audio-visual and film sector contributed 0.2 per cent of the GDP and earned over FJD 55 million in direct income, providing employment opportunities to 440 locals in a range of foreign productions.1 But while Film Fiji has done an excellent job in encouraging foreign productions, there is almost no evidence that this increased activity is helping to support the sustainable development of the local narrative film or television industry.

Local production industry There is a growing number of small general production companies focused on events, commercials and donor-funded documentaries. Pasifika Communications and Skylite Productions are two of the largest and oldest companies providing these services.

Film Fiji observed that there are only two professional-grade Red Digital cameras in the country. These new digital cameras have superseded the 35-millimetre film cameras traditionally used in feature film production. Film Fiji provides a full directory of local production facilities on its website (www.film-fiji.com).

Most production companies have quality zoom microphones and desktop programmes for post- production. Several production houses have formal editing suites, e.g. Pasifika Communications, Magnum and Moving Pictures. TV stations and companies, such as Pasifika Communications have their own post-production facilities.

International productions may seek out support from private Fiji-based companies, such as Welcome Fiji that can provide access to international expertise and equipment for commercials and features. (www.welcomefiji.com/about.php).

TV broadcasting The main free-to-air station is Fiji Television (FijiTV), which also owns the 17-channel satellite pay TV service, SkyPacific. Mai Television (MaiTV), an independent free-to-air station, began broadcasting in 2008. It covers 80 per cent of the Fiji Islands and has a 24-hour web channel. Fiji Broadcasting Corporation television (FBC TV) was launched in 2011 with government support and provides the best coverage of the islands. Trinity television is the Christian English language station. No TV

1 Fiji Times 01/03/15 http://www.fijitimes.com/story.aspx?id=296675

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region station in Fiji or elsewhere in the Pacific region supports the production of dramatic content. Any quotas for local television content are filled by news, sports, magazine-style formats and talk-shows.

Training For several years, the Pacific Community supported a regional training programme that focused on local TV stations and government film units, but this support has dwindled considerably. Fiji National University (FNU) offers a Film and TV certificate course at its Raiwai campus. The Certificate IV in Film and Television Production is a six-unit course with the first trimester offering the following courses. • Basics of Film Production • Basics of Direction • Basics of Screen Writing • Basics of Cinematography • Basics of Editing • Basics of Sound Recording and Engineering

In the second trimester, the secondary level of these six units is offered and, in the third trimester, the students make their own ten-minute project. This course was introduced in 2010 and comes under the School of Creative Arts, College of Humanities and Education. The programme currently has 17 students enrolled, with most being absorbed, after graduation, into local TV stations (FBC, Fiji One, Mai TV) and local production houses, where they make commercials or corporate videos, and work as freelancers.

Although Fiji National University is considered the main training institution for film and TV in Fiji, most respondents felt that it currently fails to suitably prepare students to participate in the industry. The overwhelming majority of interviewees felt that training in film and television production in Fiji was substandard and that this was a big barrier to the development of a viable industry. Ravi Malik, Director of UniStudio in FNU’s Film and TV Department, says they are challenged by a limited budget, the fact that they have only three functioning (but very old) cameras and only three editing suites, making it impossible for FNU or its students to become involved in the production of films made in Fiji by foreign productions.2

There is no dedicated training for scriptwriters. The successful playwright Larry Thomas considers himself 'unqualified' to write a film script. He says training is needed to teach the basics and recommends that support is provided from overseas.

Local acting talent is viewed as strictly amateur and limited: there are no professionally trained actors in Fiji. Auditioning and casting are primarily through word-of-mouth with a view to 'trying out' and subsequently developing individual talent. There are several established theatre groups with a talent pool that is utilised for videos and dramas, e.g. Annie Moore’s Women's Action for Change group.

2 Training is covered in more detail on page 22.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Festivals Film Fiji supports the Kula Film Awards and dance competition, which is now in its ninth year and is sponsored by HFC Bank and Fiji Airways. This annual competition is focused on high-school students, who are asked to focus on themes, such as teenage pregnancy or drug abuse (www.film-fiji.com). The Kula Film Awards now includes an open category but many independent filmmakers say they would prefer it if Film Fiji supported a totally separate film festival that could potentially run alongside the Fiji Film Festival, which FNU hosts every July.

The open category has always seemed to be like an afterthought. I’m all for trying to encourage kids in film making but I just wish that they'd separate the two because it's distracting when you go to one of these things and a bunch of kids are yelling and screaming whenever somebody goes up and they're dancing. It's like two minutes of talking about film and then ten minutes of dancing. – Meli Tuqota, Independent Filmmaker

Over 200 feature films, documentaries, short films, television films, ad films, animation films and student films are shown at the Fiji Film Festival, an international event. Now in its fifth year, its aim is to promote film and television and the audio-visual industry. The films are shown in ten theatres across Fiji and FNU venues.

In reality, there are very limited distribution opportunities for locally made productions and a heavy reliance on online distribution, primarily via YouTube. Cinema distribution is expensive but, occasionally, USP provides rooms for video project launches and dramas.

b) Tonga

Background There is no film industry per se in Tonga. Tonga has no government agency responsible for facilitating film production or incentivising international or local filmmakers. Local filmmakers are documentary and short film enthusiasts, who show their films at ad-hoc film festivals as detailed below.

There are no formal policies in place to support or encourage narrative film or television production. Government funding support for the arts is limited but some support has been provided by commercial entities, such as Westpac Bank and diplomatic bodies, such as the Australian High Commission and the French Embassy.

TV broadcasting Tonga Broadcasting Commission (TBC) is the main public service broadcaster and DigiTV is a new cable television service with 20 channels.

Local production industry Production companies in Tonga are mainly individual freelancers who have their own audio and editing equipment. Their main focus is on documentaries, corporate videos and the commercial

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region market. Many individual operators have access to good quality cameras, such as the Canon DLSR 700d. The Tonga Broadcasting Commission has basic facilities.

ICON Creative Summit Tonga is a local non-governmental organisation that works with young people to develop their skills in creative arts. ICON runs a media training project with support and equipment from the Australian-funded Pacific Media Assistance Scheme (PACMAS). They use this equipment primarily for developing the professional media content skills and enhancing leadership qualities of Tongan youths. They also develop public awareness advertisements for government and non-government organisations (NGOs) (PACMAS Project profile, 20143).

Foreign productions There is no government agency focused on promoting the film industry or Tonga as a filming location. Film or television producers need to make their own arrangements. For example, when the foreign-produced, written and directed Tongan language feature film When the man went south was shot in ‘Eua, Tonga, the foreign crew had to scout for locations, hire cast members who had no acting experience and create their own wardrobe and props. The film’s world premiere took place at the Cinequest Film Festival in San Jose, California, USA in March 2014, and it was also selected for the 15th Annual Ojai Film Festival in Ojai, California, USA in November 2014.

Training PACMAS offered a one-week training for film makers and documentary film makers in November 2014 that was limited to a small number of people.

ICON Media Training is a one-year project run by ICON Creative Summit Tonga and funded by PACMAS. The training is offered to youths who learn the basics of professional production from conception of ideas, to scripting, filming and editing, and exporting completed productions in different video formats. Their trainer has a background in film production (PACMAS, 20134).

On-the-Spot hosted a one-week festival called Mahina Festival, focusing every evening on different aspects of film, such as acting. Malani Wolfgramm has been running filmmaking classes for youths for the past four years in conjunction with On-the-Spot.

Most dramatic activity focuses on theatre acting with organisations, such as Speedy Crew, Fili Tonu and On-the-Spot. The Tonga Business and Enterprise Centre (TBEC) is also starting to support training in finance and marketing for small production companies, such as Lionheart Entertainment.

Festivals Several small festivals have been organised by individuals or small organisations on an ad hoc basis. San Francisco-based Neka Aipolo personally funded and ran the first and second Tongan Film

3 http://www.pacmas.org/wp-content/uploads/2015/04/Project_profiles_ICON-Creative-Summit_Tonga.pdf 4 http://www.pacmas.org/profile/icon-media-training-offers-youth-a-career-path/

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Festivals in 2008 and 2009.5 These festivals featured a total of 16 short films and Aipolo also organised a training workshop to help budding filmmakers shoot, edit and screen their short films at the festival. The content covered topics, such as: • getting the idea; • writing scripts; • camera (movement and angles); • lighting; and • sound.

On-the-Spot has also started running the one-week Mahina Festival with support from the Australian High Commission. The festival features a large screen, which is used to showcase films made in Australia, together with local documentaries made by members of On-the-Spot and short films made by students of Malani Wolfgramm’s training programme.

4. Government support options

This section of the report provides a brief overview of the options available for governments to support the development of the narrative film and television sectors in their countries. It also outlines the formal and informal support that is already being provided by government agencies in Fiji, Cook Islands and Samoa.

There is a range of policy incentives available to governments to foster and promote local film industries. Some of the most common incentives on an international level are:

• Film commissions – A film commission is a government agency with a regulatory role that is responsible for facilitating film production. Film commissions tend to have a mandated purpose of promoting regional or cultural voices through developing film, video and multimedia products. The objectives set for a film commission can be both cultural and economic.

• Film promotion offices – A film promotion office is essentially a non-statutory film commission. They are often funded and contracted by government, but focus on promoting the industry or its region as a filming location. The objectives set for a film promotion office are likely to focus on the economic, rather than the cultural.

• Direct film funding – Some governments fund film production directly. The funding can come from general taxation, some form of targeted levy or fee, or other government funding source (such as lotteries). In countries where this is done, the funding is usually channelled

5 Neka Aipolo personally financed the festivals with help from friends and relatives. He attends The Film Institute (TFI) at the University of the Nations in Hawaii but is currently living in California where he is focusing on the development of his first feature film.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

through a film commission, funding agency, or broadcaster. The government does not generally make decisions on which films are to be funded, though the objectives or mandate given to the funding body will guide the choice of films made.

• Tax rebates – Tax rebates are a common form of funding incentive that governments provide to encourage film production. Rebates allow productions to pay less tax than they otherwise would, which can lead to a significantly lower budget for filmmakers. Tax incentives are often used by smaller nations to encourage large international productions to locally shoot part or all of their film. Tax rebates are often thought to provide less incentive for local production in small countries, as they require a film to already have funding, and tend to have budget thresholds that preclude low budget productions.

• Other funding incentives – Governments can partly fund or encourage film production through a range of other funding methods, such as subsidies for staff or equipment, grants to partly fund certain production costs, and tax write-offs for investors. French Polynesia has the only funding scheme in the Pacific Islands that is specifically designed to provide direct grants for scriptwriting, documentaries and festivals, including development and preproduction costs. (http://www.dgae.gov.pf/article175-apac-comment-en-faire-la- demande/)

• Other non-funding incentives – Other methods by which governments can incentivise or support film productions include making the regulatory environment more attractive for filmmakers (e.g. through easing employment or insurance requirements for productions) and smoothing or coordinating the production’s interaction with local requirements (e.g. providing a single point of contact to facilitate government permits and relevant fees and taxes).

Most Pacific Island countries do not currently have policy or legislation designed to incentivise local narrative film or TV production to promote their country as a location for foreign productions. Currently, the media policy and legislation for most countries is focused on either copyright legislation or on the regulation of radio and TV. French Polynesia is the only Pacific Island nation with an audio-visual and film fund, specifically focusing on assisting local productions. (See http://www.dgae.gov.pf/article175-apac-comment-en-faire-la-demande/)

In most Pacific Island countries, it was difficult to identify any government representative who genuinely believes that any significant economic, social or cultural benefits can be provided by supporting the development of the local film and television sector. Dennis Marita, Director of Culture in Solomon Islands, says that most of his colleagues believe that any such investment would be ‘more of a liability than an asset’.

Most Pacific Island countries do not have their own dedicated film commissions and the only Pacific Island members of the International Association of Film Commissions are Film Fiji and the Niue Film Commission. The Niue Film Commission currently operates under the office of the Economic

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Planning Development and Statistics Unit, and it was primarily established to help attract foreign film productions. The commission has also supported the development of a new film festival and film training, including a recent workshop funded by the United Nations Educational, Scientific and Cultural Organization (UNESCO) for young people that was held in August 2015 with support from the Niuean filmmakers, Shane Tohovaka and Vela Manusaute.

a) Film Fiji − a film commission

Film Fiji was established by the Film Fiji Act of 2002 to ‘promote and develop the audio visual industry in the Fiji Islands’. Film Fiji states that its role is to: • develop and promote Fiji’s audio visual industry, locally and internationally; • administer the various tax incentives; • provide film location services; • set up an audio-visual school; • be a one-stop shop for the industry; • build a new industry and broaden Fiji’s economic base; and • ensure that there is an effective communication system in place for all stakeholders, including government.6

The financial incentives administered by Film Fiji are as follows. • Tax exemptions for foreign productions – International productions using Fiji as a filming location can apply for a partial or total exemption of tax liable on production-related expenses incurred in Fiji.

• Tax write-offs for local investors – Local investment in film is encouraged by what are referred to locally as ‘F1 and F2 incentives’. These incentives allow Fiji-based companies to invest in up to half a film’s production budget. In return, they receive a tax write-off on company taxes of 150 per cent, or 125 per cent of the invested amount. The higher rate applies if the film shows ‘Fiji for Fiji’, performing a local cultural and tourism promotion role.

• Film tax rebates – This is a cash subsidy offered to fully funded international productions that film in Fiji. The rebate is 47 per cent of the Qualifying Fiji Production Expenditure (QFPE). The rebate is paid by the Fiji Government after the production is complete.

While only the tax write-offs appear to be targeted directly at local producers, there is no evidence that any Fijian filmmakers have been able to utilise these incentives:

We thought the 150 per cent tax rebate was a great initiative. It was simple mathematics, like you put $1 in and you get $1.50 return. But the local sponsors said: 'We're not interested in that 150 per cent tax rebate because it doesn't work.’ One company said, ‘By the time we file the documents, the tax return is brought down to maybe 20–25 per cent, so it really doesn't add up.’ – Amol Lal, independent filmmaker, Fiji

6 www.film-fiji.com, last accessed 30.04.2015

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Dallas Foon, CEO of Film Fiji, says the main driver for Film Fiji is the new economic activity that international productions bring to the country, including direct impacts on the local economy and promotion of Fiji as a tourist destination:

Last year, we had 52 productions in the country, ranging from TV commercials to feature films. The money they spend in Fiji, in general, has a multiple effect through the economy of 2.8 times. – Dallas Foon, CEO, Film Fiji

While international investment in film production in Pacific Island nations has a positive economic effect, it does not necessarily result in support for the development of local narrative filmmaking. Catherine Fitzgerald, producer of The Orator, noted that foreign productions almost never provide work for local writers, creators, directors and creative-leaning producers.7 This view was backed up by the direct experience of many independent filmmakers in Fiji:

With a lot of these overseas productions, you don't see many locals being employed. They would be doing something like a runner or something but they don't have time to employ someone from Fiji and teach them how to do the job. They do pump in some money but they get 47 per cent back anyway. – Amol Lal, independent filmmaker, Fiji

Many local narrative filmmakers believe it will be almost impossible for the local industry to grow unless the government provides some sort of competitive grant or seed funding. But Mr Foon believes it is highly unlikely Film Fiji will be able to do this because of the small size of the country’s economy, combined with the administrative difficulty (and the perceived political

Fiji Film says it wants to help promote local independent films like sensitivities) of managing such a fund. Envy by Noob Productions Alternatively, he believes, the organisation should provide more support for local independent filmmakers to market their films so they get greater exposure to international markets and funding opportunities:

We have a lot of talent in the country, and it's really about getting exposure for them internationally to be able to really bring up their skill sets and the quality of their films. – Dallas Foon, CEO Film Fiji

Mr Foon believes a good first start would be to encourage more local films to be screened as part of a new programme that could potentially run alongside the current Fiji International Film Festival. Some local filmmakers believe that the Fiji Government could introduce simple measures to encourage local film production, such as removing expensive import duties on professional camera equipment.

7 Interview with Catherine Fitzgerald, 13 March 2015

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

b) Informal support

Elsewhere in the region, examples of informal support suggest that Pacific governments are aware of the potential for cultural and economic gain from supporting films locally, and could be willing to institute film-friendly policies. For example, in addition to the Government of Samoa providing a small grant of approximately NZD 60,000 towards the production of The Orator, the producer, Catherine Fitzgerald noted the invaluable logistical support provided by members of the government during shooting in Samoa.8 She said that making the film would have been very hard without the government’s support, encouragement and efforts in ‘opening doors’.

Another example is that of Film Raro. This was a private initiative conceived and run by Drum Productions, a New Zealand-based production company. Film Raro was partly funded and supported by the Cook Islands Government, with other corporate partners from New Zealand and the Cook Islands. The objectives of the initiative were to aid the social and economic development of the Cook Islands by engaging with filmmakers and audiences from around the world.

Film Raro was borne out of a memorandum of understanding developed between Film New Zealand and Drum Productions to promote Rarotonga as a tropical location for international filmmakers. Drum Productions conceived Film Raro as a ‘catalysing project’ to promote Rarotonga and Cook Islands as a filming destination, while developing the skills of the local people to support and contribute to productions.

In May 2013, the Film Raro Pacific Paradise Film Challenge was held as a competition for six small teams of three or four foreign filmmakers (including writers and directors) that were supported to travel to Rarotonga to make short films over a one-week period. Local crews received training before the teams’ arrivals, which was offered through the local Ministry of Education. The films were edited in a communal hall so everyone involved could share in and learn from the process. The films were shown in a local film festival, and then subsequently internationally marketed and promoted. Some of the short films produced through Film Raro have gone on to be shown at international film festivals, screened on international public service television stations, and on Air New Zealand flights.

Despite the success of the Film Raro project, it is still not possible to find any examples of locally produced film or television productions from the Cook Islands.

5. Value cycle analysis

The value cycle analysis is designed to identify what could be realistically and cost-effectively done to add the greatest value for the narrative film and TV sector in the Pacific Island region at each stage of the cycle.

8 Interview with Catherine Fitzgerald, 13 March 2015.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

a) Development

The development stage for independent film production is high risk and often lasts much longer than the other stages. (Typically, fewer than 20 per cent of films in the development stage proceed to production.) The development stage includes creative and financing considerations that can involve multiple stakeholders/investors and it reflects the critical need for the producer to understand all stages of the value cycle from the very beginning, including distribution and sales.

Internationally, most independent films need a good, detailed script in order to attract the needed financial support. The producer must have a thorough understanding of how intellectual property rights may be strategically used to obtain production finance and attract the best authors, actors and other talent. For example, a New Zealand-based Cook Island producer has recently worked with the Samoan author, Lani Wendt Young, to secure NZD 50, 000 from the New Zealand Film Commission to explore film development options for her Telesa teen fantasy trilogy. This funding included NZD 5000 for a one-year option9 on her story. Wendt Young, however, says she is unwilling to sign any agreement unless there is an assurance the final film will be produced for a budget of at least USD 50 million. Wendt Young believes this is the minimum figure that will be needed to realise her creative vision and, while this figure may seem unrealistic, Wendt Young is clearly demonstrating the value that she attaches to her intellectual asset.

All film industries are subsidised to some degree by their governments, either through direct grants or tax incentives. It is instructive here to consider briefly how the New Zealand film industry has developed since 1980. Over the last 35 years, the New Zealand Film Commission has employed a strategy of using the country as a location for other people’s stories and these international productions have helped to grow the infrastructure needed to support the commercial development of unique New Zealand stories, such as Whale Rider and Once Were Warriors. The critical component here is developing a very clear understanding of the potential market for these products. As the New Zealand producer, Catherine Fitzgerald says:

If you just make New Zealand films for New Zealanders then you’ve got a very limited market.… the paradox is that the films that export best are the ones that are most local. They are the ones that truly reflect our people, our culture and what is unique about this part of the world. This is what people overseas are really interested in – they don’t want to see a film that could be made in America. – Catherine Fitzgerald, New Zealand film producer

While most aspiring filmmakers want to be directors or actors, it is the producers who are the invisible force-field that supports the development of narrative productions throughout the value cycle. In fact, effective producers are probably the single greatest asset for any nascent film industry.10 Internationally, when most independent film producers consider a potential script they will immediately be thinking about questions like:

9 An option is a contractual agreement between a potential film producer and the writer or owner of a screenplay. 10 For more information about the specific roles and responsibilities of an independent film producer, please refer to the Producer Responsibilities Checklist in Appendix D.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

• Who is the audience for this story? • How can I reach them? • What is the budget level for this production? • Who is the potential distributor and who are the sales agents? • What development partners could help me to achieve my production goals?

In order to secure development funding, producers must be able to demonstrate that they have a talented and proven director with the ability to bring a good script to life. Currently, the only way that Pacific Island directors can develop the confidence and ability to attract greater funding is to showcase their talent via short-films or very low-budget features (in the case of Microwave Films).

Because the narrative film and TV sector in the Pacific is still in its early days, there are few, if any, cases where producers have applied a value cycle approach common to independent film production elsewhere around the world.

Despite the increase in foreign productions being made in Fiji, there is scarce evidence that this is providing employment or professional development opportunities for local independent filmmakers. This is a lost opportunity for the development of the local industry; aspiring producers could benefit hugely if they were able to directly observe and even participate in the overall business and creative process of developing a narrative feature film.

It is important here to acknowledge that there are significant differences in the production requirements for different narrative products, such as TV dramas and independent feature films. However, the same general principles should apply to the production of a local TV drama series of ten 30-minute episodes and one 90-minute independent feature film designed to appeal to an international market.

Categories of production In the Pacific, most narrative filmmaking and TV production currently falls into the following five categories:

Independent features: e.g. The Orator / co-production – a mix of private and government funding was generated, based on a clear marketing strategy with distribution partners and pre-sales. Fully subsidised: e.g. Love Patrol / Wan Smolbag – this TV series was fully supported by donor funding from Australia and New Zealand. While a ten-episode series costs USD 800,000, only token returns were generated after production via small broadcast fees from TV stations like Maori TV in New Zealand. Cottage industry: e.g. Jilel / Microwave Films – Microwave Films produces its feature films on very low budgets of around USD 1000 that largely rely on the producers and cast working for free. Money generated from receipts has been invested back into production equipment and community projects, such as a local school. Mixed funding: e.g. The Spice of Life / co-production – TV drama in Fiji is being developed with a mix of funding from Fiji National University and commercial sponsorship deals via broadcast on FBC TV.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Hobbyist: e.g. Broken Wind Chime / Sukwadi Media11 – the total funding of just over USD 1000 for this short film was based on a youth project to sell copies of an anthology of local poems and stories. The development of this book was originally supported by donor funding.

A return on investment One of the first factors that need to be considered in the development stage is the drive or ambition for independent filmmakers to produce commercially viable films that will enable cast and crew to be paid, while also allowing paying audiences, distributors, investors and development partners to be satisfied with the return on their investments.

In some cases, production companies, such as Microwave Films in the Marshall Islands, appear to be completely satisfied making low-budget feature films for Marshallese audiences. Their cottage industry model allows them to distribute via local theatres to up to 4000 paying local customers, to sell up to 2500 professional packaged DVDs, and to reach diaspora markets via film festivals in the US states and territories. The money generated from these receipts has been invested in the development of a local school and an upgrade of their film equipment.

In Samoa, the hugely popular Silamanino soap series produced by ETV Productions is distributed directly via DVD sales to audiences in Samoa, New Zealand, Australia and other diaspora markets around the world. Copies can also be purchased online at https://www.facebook.com/SilamaninoMovies for NZD 35 per two-hour DVD. ETV estimates that each Silamanino programme costs approximately USD 40,000 to produce and market, including the cost of making promotional concert tours with cast members to New Zealand and Australia. However, ETV Productions is unsatisfied with this current business model and they now desperately want to develop higher quality and more commercially viable feature films that will also appeal to a wider international market.

In some ways, it has been counter-productive for the development of the narrative film industry in the Pacific that donors have provided millions of dollars for the production of TV programmes, such as Love Patrol and Grace with absolutely no expectation of a return on this investment. In the case of Love Patrol, this superb content continues to be provided to TV stations, either freely or for nominal licence fees and the entire back catalogue is also freely available on YouTube. While it is wholly unfair to criticise the production model behind a socially important initiative like Love Patrol, it is still important to note that it has always remained entirely donor-funded and, therefore, it is unlikely to produce a financially self-sustaining product that will make a return for its investors.

Accessing finance Many stakeholders believe that access to development funding is the biggest challenge they face but many filmmakers have also demonstrated that it may not be necessary for governments and/or donors to provide a large amount of seed funding to create significant development opportunities.

11 As noted later in this report, Sukwadi Media also secured USD 100,000 of international development funding for the production of documentary The Test from CBA Worldview, which was broadcast on France O and France Television’s global network.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Although it is true that international quality feature films and high-end television dramas can require budgets of USD 1–2 million, it is clear that independent filmmakers are producing short films, low- budget dramas and even feature films for a fraction of this cost.

While many filmmakers complained about the lack of any national film industries, national governments may simply believe that it is impractical to consider providing development funding where the risk of financial returns are small or non-existent. However, government officials may feel somewhat differently if they can be convinced that a relatively small investment in seed funding or structural support could lead to significant returns, in terms of increased tourism, employment opportunities and cultural capital. However, no Pacific Island government or private investor should invest in the development of a narrative film project unless the producers have provided a clear budget with a convincing sales and distribution strategy. In fact, donor investment would be much more effective if it was focused on helping independent filmmakers to develop commercially viable marketing and distribution plans for their productions.

Unfortunately, many Pacific Island filmmakers appear to believe that they should be able to receive full funding for a project, from script through to final distribution and exhibition. There is a perceived lack of commercial and business sense among many film-makers, including their collective inability to regard themselves as a commercially viable industry. One main development opportunity for the Pacific region is to assist film-makers, producers and scriptwriters to understand the business of independent film production, and to develop viable proposals that will enable them to access financing.

There needs to be an increased focus on providing independent filmmakers with practical training and guidance in the business of filmmaking, including the development of appropriate distribution and sales strategies. Selected independent filmmakers who have shown some initial promise in developing local productions should be provided with targeted training and guidance on production and the generation of development finance.

Quality matters The current reality is that most narrative film and television products in the Pacific suffer from a combination of poor script development and low production values. All narrative film and television products are completely unique and entirely dependent on the quality of the script, the production team (producer, director, cast and crew), and the quality of their marketing and distribution plans. Local production companies need support to develop the sorts of marketing and distribution strategies. These will provide the budgets needed to achieve the minimum production values to appeal to audiences and compete with other products in the marketplace. This is where targeted training and professional development support from key partners, such as Screen Australia and the New Zealand Film Commission could be extremely valuable.

Working together A lack of trained scriptwriters is not necessarily the main problem in the Pacific. There have been very few opportunities to bring scriptwriters, directors and producers together to consider script

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region development in the context of commercially viable independent film production. Any training in script development needs to be linked closely with directors and producers in order to provide innovative ways to generate funding for their film and television productions.

In most cases, filmmakers are developing their own concepts with colleagues or friends in something of a vacuum, without the sort of guidance needed to develop sound proposals for further development. More Pacific Island writers would be encouraged to turn their hands to learning the art of scriptwriting if they genuinely felt there was a greater chance that their work would actually be produced.

Dedicated script development or concept labs could provide useful opportunities for small teams, consisting of a scriptwriter, producer and director to develop particular ideas together. These teams could be encouraged to collaboratively develop concepts. This process could also help to increase the understanding of the different roles and responsibilities needed to produce effective concepts and budgets for further development financing.

In 2004, the Pacific Island Broadcasters Association was incorporated into the Pacific Island News Association because donors wanted to work with a single body. Since 2000, the closest form of a regional association for film and television producers is the Colloque des Télévisions océaniennes, which is held around the Festival International du Film documentaire (FIFO) film festival in Papeete, Tahiti in late January/February every year. This gathering has greatly improved relationships between English and French speaking broadcasters but many feel that a more formal structure would greatly help to boost the development of local film and television content.

Past discussions about establishing a regional association of industry representatives from the narrative film and TV sector appear to have been stymied because of confusion about its potential objectives. It is important to try and bring film and television producers together because, collectively, they will be able to develop the staged approach needed to nurture creative and commercial talent via the production of progressively more challenging narrative products.

From local to international If countries can be encouraged to support the development of narrative products for local TV, this could provide a platform for building the necessary skills and confidence to produce products for a regional and then an even more demanding and discerning international audience. For example, it may benefit the overall progress of the sector to initially focus this development where there is likely to be greater control of the entire value cycle, such as documentaries, docudramas and one-off TV dramas in a local language. This would help to build the confidence and skills needed to successfully produce other products for a wider regional and international market.

The following table highlights some of the key benefits and barriers related to the production of different narrative film and television products in the Pacific Islands region.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Product Benefits Barriers Documentary (with strong -Shorter production times -Does not directly support storytelling/character- -Less equipment needed to shoot narrative storytelling driven components) -Less need for detailed scripting techniques needed for TV -No ‘actors’ required dramas or short and feature -Wider access to markets for films culturally unique/interesting -Does not develop stories screenwriting, acting or -Promotes greater ownership of directing skills value cycle process -Does not develop concept -Can clearly support culture and development skills needed for heritage objectives the production of feature films One-hour docu-drama -Can access donor funding to -Difficult to address social address social and environmental issues in an entertaining way issues -Less likely to appeal to - Can develop screenwriting, commercial advertisers acting and directing skills - Shorter production demands than series - Can potentially appeal to local and regional audiences One-hour TV drama in -Full development of narrative -Difficult to sustain local language techniques for a local audience broadcaster or advertising - Provides strong product for local support with one-off products advertisers -Expensive to produce ‘one- off’ products in terms of economies of scale TV drama/comedy series -Provides more consistent -Unlikely to appeal to a wider in local language opportunities for local writers, regional audience unless directors and actors to develop exceptionally well-written and their skills culturally transferable -Provides more consistent product for broadcasters and advertisers TV drama/comedy series -Provides greater opportunities to -Difficult to write stories and in English reach a wider regional audience, develop characters that will including diaspora markets appeal to a wider Pacific Island -Opportunities to seek pre-sale audience agreements with national and -Unlikely to be able to develop regional TV broadcasters TV drama concepts that would appeal beyond the Pacific region

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Short film -Provides opportunities for -Limited markets for short directors to develop a narrative films voice and style -Often limited to ‘art house’ - Provides opportunities for audiences in Film Festivals directors, scriptwriters and producers to collaborate on the development of concepts for further progress -Provides opportunities to connect with potential development and distribution partners Feature film -More sustainable markets for -Long development and quality ‘world cinema’ products production times -Provides the ultimate challenge -Expensive to make and goal for most filmmakers - High risk -Requires high levels of production expertise

A regional association A regional association could help governments and partners create a realistic development strategy for the sector that focuses on: • bringing creative and business people together to develop concepts; • incentivising opportunities for people to raise funding via a mix of donors, private sponsors and international funding opportunities; and • providing platforms to develop and showcase local talent via local TV and film festivals.

It is clear that it will be very difficult for the region to achieve any progress in developing the sector unless some sort of representative industry body is established to: • outline specific needs for sector development and lobby for very specific and realistic levels of government support; • independently assess the impact of Film Fiji’s efforts to develop the local narrative film and television sector; • review the need for appropriate ‘film-friendly’ national support policies and measures in other Pacific Island countries; • support the development of specific activities, such as film festivals and focused workshops designed to improve coordination and discussion among producers, directors and scriptwriters; • advocate for increasing the participation of local filmmakers in foreign film and television productions (even if it is initially as observers with a specific focus on learning more about the ‘business’ of independent film and television production); • advocate for more relevant and coordinated industry training via existing institutions, such as Fiji National University and the Centre for Social and Creative Media in Papua New Guinea;

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

• identify opportunities to improve access to international film funding; • identify exactly what sort of development funds are most appropriate for different film and television production concepts; and • advocate for a more effective use of existing donor funding for narrative film and television productions, including the value of investing in ‘entertainment-education’ tools, such as soap operas designed to address pressing social issues, e.g. domestic violence and non- communicable diseases.

The following table outlines how a regional association of film and television producers could provide specific solutions to key barriers they currently face in the development of the film and television sector in the Pacific (recommendations are highlighted in green).

The narrative film and TV industry in the Pacific is currently disorganised and unable to articulate development needs to government and partners. Pacific Island government agencies and partners do not understand why they should consider investing in the development of a sustainable film industry. They do not currently understand: a) the potential economic, social and cultural benefits of supporting the narrative film sector; or b) how the narrative film business works. A regional association could support the development of an effective growth strategy for the sector and help to set out development needs, mobilise funds, influence policy and coordinate specific support activities. One of the first things would be to help showcase the excellent work that has already been produced in the region in order to highlight the need to find more sustainable marketing approaches to grow the sector. Narrative filmmakers and TV producers cannot directly access local development funding from Pacific Island governments and TV broadcasters. There is a need for direct training on the development of commercially viable proposals. These proposals could consider mixed-funding opportunities that could include donors, government agencies, companies, private investors and international funds. A regional association could help to determine what specific development funds are available for Pacific Island countries and what level of initial support would be required to enable producers from Pacific Island countries to meet the requirements of these funding bodies. Pacific Island producers lack the incentives and support needed to develop commercial proposals and access development financing. A regional association could help to advocate for the development of small amounts of regional seed funding that could be available for producers to compete for. Instead of directly spending millions on productions, donors should work with Pacific Island governments to incentivise local producers to access domestic and international funding opportunities.

Most Pacific Island countries do not have ‘film-friendly’ policies designed to encourage or support the development of the local narrative film and TV sector. Even in Fiji, where Film Fiji has been established as a dedicated body to support the development of the local film sector, this is not occurring. A regional association could advocate for the review and development of appropriate film-friendly

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region policies based on the activities in Fiji, Samoa and the Cook Islands briefly outlined in this report. Further work is required to determine how countries can be supported to develop film-friendly policies based on achieving a balance between: - generating economic opportunities (via incentivising foreign productions and increasing tourism promotion); - directly supporting the development of the local narrative film and television industry; and - achieving cultural and social goals, such as supporting local languages, cultural identity and increased dialogue on important social issues. This work should examine the key lessons from Film Fiji and other activities, such as the memorandum of understanding (MoU) between Film Raro and Film New Zealand, which provided the Cook Islands with direct access to New Zealand’s film policies. This approach may also be an option for other countries with closer diplomatic ties to development partners, such as New Zealand and Australia. Pacific Island film schools do not provide students with the skills needed to access local and international development funding. A regional association could advocate for existing courses to take a more business-focused approach to film and TV production. Courses could help students understand the full value cycle and the need for the creative and business components of filmmaking to complement each other from the very start of the development stage. Direct guidance should be provided on how to access development finance. Schools like the Centre Social and Creative Media (CSCM) in Papua New Guinea and the Department of Film and TV at FNU should work directly to help their students learn more about the realities of financing and distribution via the development of real productions, such as the new TV drama The Spice of Life. It is important to note here that CSCM and FNU Film and Television Department are already working to do this via their existing projects, such as CSCM’s new feature film, Aliko and Ambai. However, more support is needed to help and encourage these institutions (and their students) to focus on distribution and marketing, as well as production activities. Pacific Island countries currently lack the necessary skills, experience, equipment and financial resources to develop commercially sustainable TV dramas or viable independent feature films. A regional association should encourage Pacific Island countries to support a staged approach in the development of narrative dramatic content. A first step should be to allocate quotas for the development of dramatic content on local TV stations. These quotas could be matched by small production budgets derived from governments, donors and the private sector. The producers who are successful in winning access to this funding must provide fully developed marketing plans, including proposals for sponsorship from commercial advertisers. This would be similar to the mix of donor funding and private sponsorship demonstrated by the Spice of Life TV series in Fiji. If relevant, producers could also seek to attract donor funding based on proposals that include storylines about social issues, such as domestic violence or lifestyle diseases. This work would help to: - generate audience interest and demand for local content;

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

- build confidence and capacity in creative, production and technical skills; - increase interest/support from donors, governments and private sector advertisers; and - create a development model more focused on the full value chain needed to support independent film production. If successful at a national level, producers could then look to develop a regional TV drama in English that would appeal to a wider Pacific audience in the Islands and the diaspora markets. This would only be viable if a full marketing and distribution strategy based on presales was developed. Initial investment in supporting the development of local narrative TV content could provide the skills and experience needed to attract the additional investment required for regional co- productions. This could also provide the platform to develop independent films for the international market place.

b) Production

The production stage includes: • pre-production planning activities, such as casting, scouting locations and the development of shooting schedules; • production activities, such as filming on location or in studios; and • post-production activities, such as editing and sound engineering.

The development of good quality narrative film and TV productions requires access to industry-level equipment and personnel who are trained to industry standards including: • producers with skills in business planning and logistics; • scriptwriters who understand the art and business of writing for film and TV; • directors who know how to coordinate the creative and logistical components needed to tell a story in a visually and dramatically compelling way; • specialist technicians, including cinematographers, sound, lighting, set design and continuity specialists; and • post-production specialists, such as skilled editors and sound engineers.

Filmmaking personnel The development of a sustainable narrative film industry requires talented directors, skilled technicians, appropriate equipment and producers with the ability to make sure that large scale dramatic productions can be coordinated on time and on budget. The role of the producer is absolutely critical in terms of planning and managing all pre-production, production and post- production activities in order to ensure the creative and commercial success of the project. While local audiences may be happy to watch low-quality dramas in local languages, higher production values must be achieved if any products are to be commercially viable in a wider regional or international marketplace.

While documentary filmmaking requires very little in the way of personnel or equipment, narrative filmmaking – and especially feature film production – requires a significant mobilisation of people, resources and equipment. Also, while the region does possess some talented technicians, these

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region people currently have very few opportunities to develop professional skills in the art of narrative story-telling by directly participating in the development of larger-scale productions.

Training opportunities in Fiji At a vocational level, because of a lack of training in specialist areas, such as cinematography, scriptwriting, editing and lighting, most independent filmmakers are forced to try and learn these skills in the delivery of small projects like corporate videos. In recent years, SPC’s Regional Media Centre at Nabua Campus in Suva has seen its media training functions decline and this work has been taken up by the Australian-funded PACMAS, which continues to provide support for a range of targeted training workshops, including documentary production and animation.

Since 2010, FNU in Suva has offered courses in film production with a core group of trainers from India that specialises in film production and receive funding from the Indian government. FNU’s Certificate IV in Film and Television Production includes six units, covering the basics of film production, direction, screen writing, cinematography, editing, and sound recording and engineering. In the final semester, the students make their own ten-minute projects. The current 2015 intake includes 17 students, and most graduates hope to gain employment with local TV stations or production houses, making TV commercials and corporate videos.

Although FNU is considered the main training institution for film and TV in Fiji, most respondents felt that it currently fails to suitably prepare students to participate in the industry. Most interviewees felt that the training was substandard and that this was a big barrier to the development of a viable industry. Any production company that wants to make a film with the support of Fiji’s rebate system or tax incentives is obliged to use people trained by FNU or another education institution in Fiji. But industry insiders say that FNU graduates are not considered skilled enough to be able to gain employment on foreign film productions, even as runners, hairdressers or makeup artists.

In order to bolster and promote its film school, the Vice Chancellor of FNU has recently provided direct funding to support the development of the first seven episodes of Spice of Life, a cross-cultural TV comedy-drama that will screen on Fiji’s FBC TV channel. Spice of Life is written and directed by Arun Chakravorty, Acting Head of the Department of Film and Television at FNU. He believes that the best way to support the development of the narrative film and TV sector in Fiji is to actively show the public and students what is possible in terms of producing local drama.

Film Fiji has recently worked to bring Hollywood-based trainers to Fiji courtesy of the US Embassy as part of the American Film Showcase programme, which is overseen by the US State Department. However, it is highly unlikely that any training based on the Hollywood studio system would provide the right sort of support needed for emerging narrative film makers to produce low budget, independent film and television productions.

Training opportunities in Papua New Guinea Useful training in documentary and fictional film-making has been provided by the Centre for Social and Creative Media in Goroka, Papua New Guinea. This training has been supported by the

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region production of the Pawi Meri documentary series, the fictional short film Painim Aut and the feature film Aliko and Ambai which is currently in post-production. While the initial focus at CSCM has been to train, inspire and empower students to tell local stories on film, they are now working to develop the skills needed to get these products to a wider market.

Training opportunities in Vanuatu Non-governmental organisations, such as Further Arts and Wan Smolbag in Vanuatu provide technical training in film and video production, and overseas experts are increasingly being invited to provide short workshops to support those filmmakers who want to submit films for local competitions like the Namatan Festival in Vanuatu and the Kula Film Festival in Fiji. For example, in Vanuatu, the organisers of the Namatan Festival are now funding Murray Lui (an indigenous Australian filmmaker who worked as a director and producer on Love Patrol) to run technical training in support of the festival.

Equipment For some of the most enterprising narrative filmmakers interviewed for this report, difficulty in getting proper film equipment was not the greatest barrier they faced, but many agree that it is still an issue and not everyone can afford to order higher quality digital single-lens reflex (DSLR) cameras and other equipment from overseas.

It is also clear from the production values in many of the films viewed for this report that getting access to basic lighting and audio equipment and training is still a significant issue. In Marshall Islands, Jack Niedenthal from Microwave Films believes that the biggest production issue for atoll countries involves sound production. As he says: ‘You can hear a low quality film before you see it!’ They have worked very hard to come up with low-cost solutions to everything – from the sound of the ocean to stray dogs.

Editing Across the region, film editing was the one specific technical skill that several respondents mentioned was in high demand. In terms of editing and post-production, many people were using basic laptops and PCs for around FJD 1000 to create an editing suite on their kitchen table. Although professional editing software can cost around FJD 6000, many people were simply downloading pirated software off the internet.

While technology is becoming cheaper and more accessible, it is clear that this has not necessarily translated into more or better quality filmmaking. In some cases, the increased accessibility to advanced camera and editing equipment is counterproductive because it has removed the necessity for young filmmakers to connect with skilled technicians who may have a greater understanding of the overall craft of visual storytelling.

Training: what is needed There is clearly a need to develop more effective training for narrative film and TV production that meets industry needs at a domestic and international level. Ideally, any specialist vocational training

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region should be developed via the existing infrastructure, such as the film schools at FNU and the Centre for Social and Creative Media in Papua New Guinea. Where possible, these training opportunities should focus on the development of real productions, such as Spice of Life and Aliko and Ambai. Training focused on real productions would help students to understand all production issues, potential problems and ways to solve problems in a Pacific Island setting, where there is limited access to studios or sophisticated post-production technology.

While specialist training is needed in all areas, one of the biggest problems is that training is often too compartmentalised and provides little opportunity for collaboration among producers, scriptwriters and directors. Collaborative training workshops for independent filmmakers should be structured to allow independent filmmakers to develop concepts and proposals that could be used to seek development funding.

It is clear that the region needs more specialist training in three key areas: • production and how to develop commercially viable proposals; • direction and the art of visual storytelling; and • editing and post-production.

Because few formal training opportunities currently exist outside of Fiji and Papua New Guinea, it would be beneficial to have competitive scholarship funds that allow students and independent filmmakers to access training opportunities at regional training ‘hubs’ and international workshops. However, it would also be beneficial if students and emerging filmmakers could learn from the experiences of skilled people like Jo Dorras and Peter Walker from Wan Smolbag, and Jack Niedenthal and Suzanne Chutaro from Microwave Films. These filmmakers have learned how to make good quality productions by reading books through trial and error. Any future training programmes should be designed to capture these critical lessons and experiences so they can be shared with emerging filmmakers from around the region.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

A Gaps analysis of Production Barriers Recommendations The region lacks tertiary or vocational training Existing film schools at FNU and CSCM should that can produce skilled personnel needed to be supported to develop as regional hubs for develop the narrative film and TV sector. industry-level training in narrative film and TV production. New vocational training should be designed to help independent film and TV producers to focus on the development of commercially viable proposals. These training institutions should also be encouraged and supported to produce broadcast-ready content for local TV and/or film festivals.

The region lacks skilled producers who can Existing film schools should be encouraged to ensure that all pre-production, production and partner with business schools and development post-production activities are coordinated on partners to develop attractive training courses time and on budget. in film production skills. Limited places in these courses should be offered competitively to proven independent filmmakers and production companies. Dedicated production labs should also be developed that allow aspiring producers to workshop ideas together with local directors and scriptwriters, with the support of foreign producers.

The region lacks talented directors and FNU and CSCM should be supported to develop scriptwriters who have had the opportunity to and deliver collaborative workshops for develop skills on actual film and TV producers, directors and scriptwriters to productions. develop and produce short-film concepts for TV and film festivals. Their efforts should be showcased and promoted by Pacific Island governments.

Governments do not currently provide Governments should be encouraged to remove subsidies for any of the equipment needed by tariffs and import duties on film equipment for independent filmmakers. professional and independent filmmakers.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

c) Promotion

The promotion stage refers to all the marketing activity required to promote the film to the target audience. In the value cycle for independent film production, the promotion and marketing of the film is usually the responsibility of the distributor. Independent film producers often create marketing information needed to help stimulate word of mouth at international festivals, markets and in trade papers. Promotion can also refer to efforts by producers to sell the concept to potential investors and distributors.

As discussed earlier, most independent narrative filmmakers in the Pacific lack understanding of their potential markets or even the need to develop effective marketing and distribution strategies for their films.

For those companies identified earlier as being in the cottage industry category, promotion is absolutely critical in terms of generating the profits needed to reinvest in the development of their next production. For example, the promotion of ETV’s Silamanino soap opera series in Samoa relies heavily on the use of promotional concert tours to New Zealand and Australia, where the actors perform scenes and songs in front of a live audience of paying fans who then buy the DVD.

Like ETV, Microwave Films in the Marshall Islands works very hard to develop highly professional promotional material, which includes its DVD packaging, posters, print and radio advertisements, the use of unpaid media, and word of mouth generated by local screenings, festival screenings and awards. Both ETV and Microwave also make extensive use of social media, especially for their specific diaspora markets via Facebook and other social networking sites. Both have websites that advertise DVD sales and Microwave also provides access for paid digital downloads via its website.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Many young Pacific filmmakers in the hobbyist category are ‘promoting’ their short films by distributing content freely online, thereby removing any opportunity to recoup their initial production investment. More work is required to help independent filmmakers understand the value of their intellectual property and how opportunities such as international film festivals can be utilised to promote their talent as an asset, with the potential for generating future funding and support.

A Gaps analysis of Promotion Barriers Recommendations Most narrative filmmakers in the Pacific do All efforts to strengthen training and not currently understand the need to promote institutional governance of the narrative film their products in order to increase distribution sector need to stress promotion as a key stage to a wider paying market. in the value cycle.

Governments, donors and international Regional efforts should focus on developing funders are largely unaware that the Pacific opportunities to showcase Pacific Island region has talented filmmakers with unique filmmakers via TV and film festivals and stories that could appeal to national, regional international development workshops. and international markets.

d) Distribution

Distribution refers to the means by which the paying audience is able to access the production via theatres, DVDs, TV, online platforms, etc. Possible distribution channels include the following. • Theatres/Cinemas – These are screen productions produced by international studios. In the Pacific, theatres are restricted to the main urban areas, such as Suva, Apia and Port Moresby. Internationally, cinemas and multiplexes remain significant distribution channels for independent feature films. • Informal community screenings – It is common around the Pacific for communities to hold screenings where people pay to attend. • DVDs – Rental and pirated DVDs are one of the most common ways to view feature films and TV dramas across the Pacific. • Broadcast and digital TV – TV and pay TV are major distribution channels around the Pacific Island region. • Film festivals – International film festivals provide an important platform for independent feature films to reach audiences around the world. • VOD – Paid video-on-demand content via digital platforms, such as Netflix and Apple TV is becoming increasingly popular around the world where there is high internet bandwidth. • Internet – Platforms such as YouTube are very popular. • Airlines – Entertainment systems for international airlines also provide a useful distribution channel for narrative film and television content.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Whoever has a good command over the mechanisms of distribution controls the film and television value chain. While development and production are the most glamorous aspects of the business, money is really made on distribution via cinema, television, DVD and online platforms.

The distribution part of the film and television value chain is the most important and problematic issue in the Pacific region. Independent filmmakers currently have very limited opportunities to get their stories out to a paying public. DVD piracy is rife and local TV stations do little to encourage the production of narrative content. Sadly, many narrative filmmakers in the Pacific simply resort to sharing their content freely via YouTube in an effort to simply get it seen. To combat piracy, the cottage industry players like ETV and Microwave Films tend to employ a distribution strategy that relies on a combination of setting the right price for DVDs and theatre tickets, while helping their small markets to understand that any future productions are based on their financial support.

The Centre for Social and Creative Media in Papua New Guinea received additional donor funding of AUD 160,000 to support the distribution of its Pawa Meri documentary series. This was on top of the production funding and included a monitoring and evaluation component designed to measure the impact of the documentary films on its target audiences. Therefore, while development funders may want to support the effective distribution and impact of their investment, their current focus is not on the commercial aspects of distribution but on social impacts.

Unfortunately, narrative filmmakers in the Pacific currently have little or no understanding of the potential international marketplace for their film products. In the independent film production cycle, the distributors are the intermediaries between producers and exhibitors and they are responsible for negotiating licences with various outlets, including theatres and broadcast television stations. They are also responsible for the collection of film revenues and royalty payments to the owners of the work. Producers are involved in marketing their products directly to exhibitors and broadcasters. Film markets and festivals also provide an important platform for the distribution of productions.

Ravi Malik says there is currently a catch-22 situation, where poor quality and production values mean that cinemas refuse to screen local productions. But this view belies the fact that movie theatres everywhere are simply obliged to screen movies that are produced and distributed by large overseas studios. Local movie theatres, such as the Damodar chain in Fiji and Samoa would be unlikely to screen locally made independent films without a distribution partner or outside of a film festival.

Ironically, one of the main barriers to a more commercially sustainable TV and film industry has been the privatisation of television stations and the failure to support local drama or other narrative content in favour of cheaper products from overseas, such as Filipino soap-operas. While many Pacific Island countries have quotas for local content, this is usually taken up by local news, sports and music shows that play international music videos. There are currently no specific quotas or dedicated budgets to support the development of dramatic content on local television stations.

Several respondents mentioned the ‘dream’ of a regional television network based on sharing Pacific values and providing an opportunity to support local TV and film content from around the Pacific

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region region. The mobile phone company, Digicel Pacific is about to launch a regional pay-TV network with an expressed mission to support the development of local content, but this is likely to focus on cheaper content, such as sports, talk shows or low-budget reality TV shows.

Currently, most ‘Pacific’ film festivals, such as the Fiji Film Festival, the FIFO documentary film festival in Tahiti, the Guam International Film Festival and Sydney’s Pasifika Film Festival, rely on screening international productions from places like New Zealand and Australia with higher production values. Most narrative filmmakers from the Pacific felt these festivals were not appropriate and that there was an immediate need for a genuinely Pacific Island film festival that catered for and encouraged indigenous filmmakers.

The Namatan Film Festival is run by the Australian High Commission in Port Vila and the Vanuatu Broadcasting and Television Corporation. The festival's stated aim is to provide ni-Vanuatu youth with an opportunity to share their ideas and creativity through film. Film Fiji has created an open section in the Kula Film Festival to cater for independent filmmakers and, despite criticism that the event is too focused on school children, it has provided one of the few consistent platforms to showcase local talent. As noted earlier, Film Fiji says it is now looking to support a dedicated platform for local independent filmmakers that could potentially run alongside the Fiji Film Festival.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

A Gaps analysis of Distribution Barriers Recommendations There are currently no incentives to support Any regional association should lobby the production of local dramatic content on governments for dedicated quotas for dramatic Pacific Island TV channels. TV content based on cultural, social and economic benefits. Donor agencies should be approached to support development budgets for soap operas and dramas that address pressing social issues, such as domestic violence and non-communicable diseases. Most Pacific Island narrative filmmakers and - One of the key objectives or functions TV producers do not know how to access of a dedicated regional body or commercial distribution channels association could be to help narrative domestically, regionally or internationally. filmmakers and TV producers identify ways to improve the distribution of their products. Such a body could: - advocate for national TV quotas and production budgets; - coordinate marketing and distribution efforts via international festivals and markets; - support institutional training to focus on distribution and marketing efforts; - support a dedicated workshop focused on maximising distribution networks and opportunities; and - explore opportunities to develop regional co-productions financed via pre-sales with national, regional and international TV channels. Pacific Island film and TV producers are Any proposed regional film and TV association currently giving away content freely to should work to ensure that minimum payments broadcasters and online. are secured for any existing narrative content and that standards are set for future content production. For example, the authors of this report have negotiated for Australia Plus to pay five short filmmakers a nominal licence fee of AUD 700 for the broadcast of their films. In some cases, this payment will exceed the original production budgets of these short films.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

e) Consumption

Consumption refers to the audience that is paying to see the film and television production, either via direct sales or indirectly via advertising or public spending. It also refers to the response from audiences and how this shapes the development of future productions.

Verena Thomas, Director of the Centre Social and Creative Media in Papua New Guinea, says their research into village cinemas in the highlands found a real hunger for local content. However, she also said that the reality was that most people are watching Rambo and Bruce Lee because ‘that's what's being sold on the streets’.

It would appear that there are four distinct markets for local narrative film and TV products in the Pacific Islands. 1. The domestic audience in Pacific Island nations that want to see local stories in local languages. 2. The diaspora markets in New Zealand, Australia and USA that want to retain a connection with their cultural heritage. 3. The regional Pacific audience that is interested in seeing stories about Pacific Islanders in English. 4. The wider international market with an interest in the ‘unique’ stories, cultures and locations found in the Pacific.

It is clear from cottage industry companies, such as ETV in Samoa and Microwave Films in Marshall Islands that there is a willingness from consumers to buy locally made narrative film and television- based products. While there is clearly a huge demand to watch episodes of a good quality narrative production like Love Patrol, it is not currently clear who is prepared to pay a sustainable or commercially viable price to watch it.

Piracy is a significant issue for cottage industry players like ETV and Microwave Films. Currently, the only strategies they have to combat illegal copying and distribution are to set a competitive price and to manage tightly controlled launch and distribution strategies in order to get product to their core paying markets as quickly as possible. In order to lift production standards and secure wider distribution markets, cottage industry companies need to develop commercially viable concepts that can secure pre-sales and greater levels of development financing.

In terms of broadcast television, there is currently no system for generating pre-sales or securing licensing fees from TV channels within the Pacific Island region. Production companies like Sukwadi Media have had some success in generating USD 100,000 of international funding for their documentary, The Test from CBA Worldview with secured broadcast on France O and France Television’s global network.

Richard Broadbridge, a Fijian TV producer and broadcaster now based in Papua New Guinea, believes it would be feasible to support the development of a regional TV drama or mini-series. This would be based on securing pre-sales across a regional market that would include diaspora populations in New Zealand and Australia.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

‘First, you need to get agreement from national TV stations to broadcast at a particular price based on the market size so you're guaranteed that income and broadcast time. Then you try to do a regional sale with NITV or Australia Plus (which is exactly what the Pacific Games has done).’ – Richard Broadbridge, Managing Director, Click TV PNG

Broadbridge believes a regional production and distribution model could work for a Pacific drama series if it could be designed to appeal to a regional audience. He suggested a dramatic series based on the lives of students at the University of the South Pacific in Suva, where characters could come from a range of countries, including Pacific Islanders from Australia and New Zealand.

A regional production could also secure a mixed-funding base that could include support from government and donor agencies that wish to raise awareness and promote behaviour change in relation to significant social issues, such as domestic violence and lifestyle diseases. In order to justify and support ongoing funding, simple audience research approaches could be established to demonstrate the reach and impact of these ‘entertainment education’ productions.

A Gaps analysis of Consumption Barriers Recommendations Cottage industry production companies are Any regional association should work to provide currently locked into a cycle that is based on access to distribution and financing serving relatively small domestic and diaspora opportunities for proven production companies markets. that can develop viable proposals for: a) regional television productions; and b) short and feature film concepts that could appeal to a wider regional and international market.

6. Current business models

This section provides an overview of the main business models for narrative film and TV productions in the Pacific Island region. These models include: a) independent feature films, based on raising production finance and recouping investment via a clear marketing and distribution strategy; b) fully subsidised productions, based on full funding from donor organisations; c) cottage industry productions, based on reinvesting profits into the development of subsequent productions; d) mixed funding productions, based on a mixture of donor support and private sector sponsorship or advertising; and e) hobbyist productions, based on self-financing and the free contribution of time and resources.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

a) Independent feature films

The Pacific Island region has produced only two independent feature films: The Land Has Eyes (2004) and The Orator (2011). While full production data were not available for The Land Has Eyes, it does not appear to have been developed with a clear distribution strategy or to have recouped costs. Although largely financed by the New Zealand Film Commission, The Orator is included here because it was supported by a small grant from the Government of Samoa and shot entirely in Samoa in the Samoan language.

The Land Has Eyes (2004) – written and directed by Vilsoni Hereniko The 2004 feature film The Land Has Eyes (Pear ta ma 'on maf) was produced with a budget of less than one million dollars and shot largely in Rotuma on a cheap digital video camera. The international crew included three Hawai’ians, two Maori, and several Rotumans. Most of the cast were played by Rotumans, one key exception being the renowned Maori actress Rena Owen of Once Were Warriors fame. Hereniko and his producer wife, Jeanette Paulson, went heavily into debt to make the film.

The film was only completed after the Hawai’ian non-profit Pacific Islanders in Communications contributed USD 145, 000 to complete the editing and post-production. A number of different organisations and individuals also donated funds and in-kind support to help make the project a reality. The Fiji Government was very supportive of the project; the Fiji Audio Visual Commission supported the marketing of the film; the Fiji Trades and Investment Board provided support, and Fiji Tourism even chartered the plane that took the cast and crew to Rotuma. The Fiji Government also contributed USD 35, 000 to the project to transfer the video to film, which was a requirement for submission of the film for the foreign language category at the Academy Awards®.

The Orator / O Le Tulafale (2011) – written and directed by Tusi Tamasese The Orator (O Le Tulafale) is the first Samoan feature-length film, shot entirely in Samoa in the Samoan language with a Samoan cast and story. It was written and directed by Tusi Tamasese, a Samoan filmmaker who was raised in Samoa but has been living in New Zealand since he was 19. The film had a budget of NZD 2.3 million and was funded by the New Zealand Film Commission (91%), the Government of Samoa (2.6%), and a private investor (6.6%). The investment from the private investor has now almost been recouped.

Tamasese was only able to make the feature after his short film, Va Tupuia (Sacred Spaces) was screened at the 2010 New Zealand Film Festival and other festivals around the world. Both films were produced by Catherine Fitzgerald from Blueskin Films with a largely New Zealand-based crew, including the acclaimed director of photography, Leon Narbey, of Whale Rider fame.

The Orator follows Saili, a dwarf taro farmer who attempts to reclaim his father's chiefly status, although many seem to doubt that he has either the physical stature or the oratory skill required. The film was widely praised by critics and received worldwide attention after screening in several prestigious international film festivals. It was New Zealand’s first-ever submission for the Best Foreign Language Film category of the 2012 Academy Awards®.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

The Orator premiered in Samoa's only cinema, the Magik Cinema in Apia on 1 October 2011 and Misa Telefoni, then Minister for Tourism, expressed the hope that the film would attract international attention and promote Samoa as a tourist destination. Its ‘worldwide’ distribution strategy primarily consisted of: • New Zealand, Australia and the Pacific (in cinemas, Pay TV, TV, DVD, VOD (online video on demand); • Switzerland and Germany – cinemas and all other media; • USA: VOD multiple platforms; and • airlines in New Zealand, Australia, Singapore.

b) Fully subsidised productions

Love Patrol produced by Wan Smolbag, Vanuatu Love Patrol is a hugely popular television drama series that has been specifically designed by the Vanuatu’s Wan Smolbag Theatre Company to address HIV and sexual health issues. The series is written by Jo Dorras and directed by Peter Walker, both of whom are originally from the United Kingdom. The entire cast and most of the crew are from Vanuatu. Post- production of the initial series was originally undertaken by Pasifika Communications in Fiji but now all post-

Preparing to shoot a scene for Love Patrol production work is done by Wan Smolbag in Port Vila.

Love Patrol tells the stories of young people, sex workers, men who have sex with men, and people living with HIV in the context of daily island life. The first ten-episode season premiered on television in Vanuatu and in Fiji in April 2007. Now, eight series have been broadcast around the region, including Papua New Guinea and New Zealand, where it has screened on Maori Television since May 2008. Surveys by Fiji TV estimated that up to 15 per cent of the entire population watched the whole series and, according to SPC ‘a random street poll showed that over 90 per cent of people in Port Vila were watching every episode’ (http://www.spc.int/en/component/content/article/9-love- patrol-the-pacifics-own-hiv-prevention-tv-series-.html). Premieres often occur at cinemas and DVDs are also widely distributed around the region. Many of the 21-minute episodes can be viewed on YouTube, e.g. Series 5, Episode 5 https://www.youtube.com/watch?v=Bv0pnlh6jd8.

Love Patrol is funded by Australian Aid and each series costs USD 800,000 (or 80 K per episode) to produce to a very high standard. The programmes are provided to Pacific TV stations for free and minimal revenue is generated from National Indigenous Television and ABC International who pay

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

USD 5000 and USD 3500 respectively, for the rights to screen an entire series. Unfortunately, because of ongoing funding constraints, it is unclear if any more series of Love Patrol will be produced in the future. While it has done a huge amount to build technical skills and capacity in Vanuatu, Jo and Peter from Wan Smolbag would probably be the first to admit that its business model is not commercially sustainable:

‘I'm saying that [in regards to] the long-term development of it here for people in Vanuatu, I don't have any answers. It's a small population, there's no money in it for anybody. I mean, we do not get paid for it by the TV and we have to actually get someone checking at 6.55 pm every Sunday that they're going to play the right episode at the right time. The problems we've had!’ – Peter Walker, Wan Smolbag

Because the programme has been written by Jo and directed by Peter, the main opportunity to develop local expertise has been beneficial for people like senior cameraman, Francis Wai, who has now gone on to make a series of his own low-budget documentaries. Francis has also travelled to Papua New Guinea to act as a technical adviser on the new feature film Aliko and Ambai, which is currently in post-production. He believes Love Patrol has given a kick-start to the entire film and television sector across the Pacific.

‘The film industry in Vanuatu has just started and, with the big impact of Love Patrol, people are becoming more aware of utilising film to do storytelling.’ – Francis Wai, Wan Smolbag

After living in Vanuatu for 25 years, however, Peter Walker says he believes it would be better for Pacific Islanders to start by focusing on short films or documentaries rather than the very resource intensive process needed to develop a longer-term drama series like Love Patrol. There is absolutely no doubt, though that Love Patrol has had a massive impact across the region in terms of letting Pacific Islanders know that it is possible to make high quality drama for local audiences.

‘We sent two actors to PNG to open Series 4 a couple of years ago and it was like Hollywood for them. When they got off the plane, they couldn't believe it! We also sent a guy to the Cook Islands and when he gave his name at customs, they said: “No you're not so and so…..You're Andy from Love Patrol!”’ – Peter Walker, Wan Smolbag

Grace produced by McPolly Koima and Emmanuel Narakobi Grace, which is set to become Papua New Guinea’s first TV drama series was written, directed and produced by McPolly Koima. After a career working in radio drama, McPolly got his first break in movies when he landed the role of Chief Boku in the German feature

A character from Grace which is set to become PNG's first TV drama

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region film Jungle Child, which was shot in Malaysia in 2012.

Since 2002, McPolly has written and produced more than 100 radio plays and more than 20 stage productions for international non-governmental and government organisations. After helping AusAID (now DFAT) develop a radio drama series focused on good governance, disability and HIV- AIDs prevention, they offered funding support to turn Grace's story into a television drama.

In 2012, his company Tribal Voice ArtsLink was awarded PGK 500,000 (AUD 193,000) to produce a film on family violence, which was eventually to become Grace, the TV series. McPolly wanted Grace to address family violence and girls’ rights to freedom and education. He says the story revolves around a young girl, Grace, who chases her dream to become a lawyer but faces challenges that exist in her male-dominated culture. In the first episode, Grace moves to the capital, Port Moresby, to study and live with an aunt and uncle but soon finds herself flirting with the idea of having a sugar daddy.

Despite the small budget, McPolly says that he and his cast laboured through 12 months of production because they wanted to prove that it was possible to produce a TV series in Papua New Guinea. ‘It took me almost 12 years to prove myself to anyone who had the money to fund a short film,’ he said.

McPolly suddenly realised that working in film requires a great deal more than radio in terms of equipment, people and locations. ‘With my very little experience in television and film making, I had to trust that I could do it. No one had the faintest idea how we would produce the film. I had to utilise everything I learned when I was doing Jungle Child in Malaysia,’ he says. ‘When I started to plan and write, my story grew longer. The story was so interesting that I didn’t know where to cut the story short. I decided to create a series. That's when Grace developed from its original short film to become a ten-part series.’

To shoot in two different locations in Port Moresby and Simbu in the highlands, they purchased two small Canon HSD cameras but they also borrowed what equipment they could. McPolly says, ‘It was difficult to purchase a good tripod, boom mics and lighting equipment. We had to look in every corner of Port Moresby and also call people to lend us whatever equipment we could put our hands on. We finally went into production with one aim, to get the production off the ground and get it at a good standard where people would not only love to see it, but also realise that, in PNG, we can produce film and TV series.’

The film version of Grace was launched at the Paradise Cinema on 26 November 2014, but the final ten-part series is still waiting for the additional funding needed to support final post-production and distribution. In order to achieve his dream, McPolly has now teamed up with experienced Port Moresby-based producer, Emmanuel Narakobi, in an effort to bring the TV series to the wider Papua New Guinea public.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Emmanuel says he is also anxious to replicate the feat achieved by the producers of Tukana – widely regarded as the first largely Papua New Guinean feature film, which was released in 1982. ‘We are trying to put ourselves out there as the first Papua New Guinean TV series and although we have produced it, we just need the money to get it broadcast so we can finally get out there and say, “look at us, we are the first”’.

c) Cottage industry

Microwave Films, Marshall Islands Jack Niedenthal started making film in 2008. He was prompted to go into film when one of his young sons asked him, ‘Dad how come there are no movies in Marshallese?’ When he first teamed up with his partner in Microwave Films, the local journalist Suzanne Chutaro, they simply wanted to have a bit of fun making a film so they could show it in the local theatre and try to raise some funds for a local school through DVD sales. The fatal flaw in their plan was that this very first film, a children's fable called Ña Noniep Suzanne Chutaro and Jack Niedenthal from Microwave Films (I am the Good Fairy), was a raging success with local audiences.

‘The success of the film was incredible. It packed the local movie theatre for like three weeks in a row, and all the kids knew every line in the film. And then they would sing all the songs and all the people in the movie became film stars, and it was just really overwhelming. So Suzanne and I were like, “we have got to do this one more time” and we just kept doing it and now we have just finished our fifth feature film.’

Their subsequent films include: Yokwe Bartowe (2010), a story that involves a legend of an evil demon bird, Lañinbwil's Gift (2011), and The Sound of Crickets at Night (2012), which tells the story of a family living in exile in Majuro after being displaced by nuclear testing on Bikini atoll. This film won the Atlantis Award for Foreign Feature Films at New York’s Moondance International Film Festival, and it was also selected for the prestigious 32nd Hawai’i International Film Festival, the Guam International Film Festival (where it won a Grand Jury Award), the 29th Los Angeles Asian Pacific Film Festival and the Big Island Film Festival in Hawai’i.

Jack says their films are now hugely popular throughout Micronesia in places like the Federated States of Micronesia, Palau and Guam, even though they do not share the same common language. ‘I mean, all our films that have been shown in Guam have been near sell outs; every one. So it's important for people to see themselves on screen; people that are like them on screen. It's really important.’

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Because 50 per cent of the local population is under 15 years of age, Jack says they have always focused on producing films that families can sit and watch together. Although they are primarily designed for a local audience, he says their more recent films have also been produced with an international audience in mind.

‘I wanted to aim it to our Marshallese audience first and foremost, but I also wanted the outside world to understand the nuclear issues; and now this new film on climate change and how serious that is. These last two films have been challenging, not just with the audiences but also with the sub- titling and the telling of the story, but I think we pulled it off both times. I think they are two of our best films,’ he says.

This dynamic partnership has worked to create films that have instilled a great sense of hope and confidence for the community they both love. Each of their feature films cost roughly USD 1, 000 to produce and, while they have relied heavily on the local assets of goodwill and willing volunteers, Jack says they have consciously focused on using their films to inject a strong sense of pride and self- worth back into their community.

Each of their films has sold over 2,500 DVDs. They price the local DVDs at USD 5 to cut down pirating and to make it more affordable in a country where the minimum wage is USD 2 a day. With 25,000 people living in Majuro this equates to sales of around 10 per cent of the population and, to date, they have now donated more than USD 25,000 of the proceeds to a local school. But, in order to support a more sustainable business model, they are now also trying to recoup some of their costs and reinvest in equipment via sales from DVDs and public screenings. In 2012, Microwave Films was finally incorporated in Marshall Islands to allow them to enter into the production of TV commercials.

Suzanne says they are both very reluctant to apply for grants to make films based on ‘other people’s requirements’. They also ignored initial advice to focus on learning via the production of short-films because they knew they could not sell a DVD or fill a theatre with a short film. Even from an early stage, it is clear that Suzanne and Jack realised the need to combine their creative instincts with the critical need to focus on costs and net sales as well.

Additional material taken from: Business Superstar: Q and A with Superstar of the Week: Jack Niedenthal, president of Microwave Films of the Marshall Islands. By Phil Hall (05.20.2013)

Silamanino by ETV Productions, Samoa Since 2012, Toepo Eliza Ti’ava’asu’e Hunt has produced six parts of her Silamanino soap-opera series and Samoan audiences cannot seem to get enough of her mix of family values, high drama and characters who suddenly burst into song.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Silamanino is not broadcast on TV but distributed directly via DVD to audiences in Samoa, New Zealand, Australia and other diaspora markets around the world. Eliza estimates that each Silamanino programme costs approximately USD 40,000 to produce and market, including the cost of making promotional tours with members of her cast and crew to New Zealand and Australia. Copies can be purchased online at https://www.facebook.com/SilamaninoMovies for NZD 35 per two-hour DVD.

Some local Samoan filmmakers are slightly dismissive of the Silamanino series because of its perceived low-budget quality, but it is impossible to dismiss its enormous popularity among Samoans living both in Samoa and overseas.

‘Silamanino is hugely popular. I can go into any village and if there’s a broadcast going on, there’d be many, many generations glued to the television set, following the stories. So, little infants up to children, youth and adults are all glued there, waiting to see the next dramatic experience.’ – Steve Percival, Samoan documentary filmmaker

Eliza is clearly a creative artist and an astute businesswoman who has spent many years carefully listening to her audience and understanding what they want. In 1996, she started ETV as one of Samoa’s very first production houses with a video magazine product that provided the diaspora markets with much wanted news and information from home. With the arrival of the internet and better television access, she decided to diversify into drama. Sometimes though, Eliza says it can feel almost impossible to juggle the roles of writer, director and producer when she needs to work with a range of people on a tight budget.

As they have worked to produce more episodes, Rudy Bartley says the quality of their products is getting better and better. “We had to do some training and the quality has improved, the audio has improved and the flow is much better.”

The Samoan author, Lani Wendt Young, says she’s hugely inspired by the fact that they’ve created their own sustainable market for local stories.

Despite the success of Silamanino, Eliza says her dream is now to have a feature film produced in Samoa at an international standard for the rest of the world to see. But Eliza is realistic about what it takes to create a good quality product that will compete and succeed at the international level:

There is no way a filmmaker in Samoa can develop on their own without the help from either government, a source overseas or a donor, to bring the professionals from overseas to shoot our script here, and to compile and have it at international standard. We can’t achieve it by

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

ourselves. Peter Jackson took so many years to develop the film industry in New Zealand. Without the help from the government and NZ On Air, it wouldn’t be possible. They even changed legislation to suit and be in line to help such an industry. And it’s making New Zealand so well known for Peter Jackson’s creativity and bringing so much to the benefit of New Zealand.

Additional material sourced from an article in the Sunday Samoan, Local filmmaker harbours big dreams by Editor, Mata’afa Keni Lesa, Sunday, 09 March 2014: http://www.samoaobserver.ws/other/art-a-fashion/9596-local-filmmaker-harbours-big-dreams

d) Mixed funding

Spice of Life produced by Arun Chakrovorthy and Amol Lal (Fiji) Spice of Life, Fiji's first local, cross-cultural, television comedy show, is currently in production with funding support from Fiji National University (FNU). Writer Arun Chakrovorthy, Head of Department at FNU, and director, local filmmaker Amol Lal, wanted to create something that would help all Fijians to see and laugh at themselves on screen. In a country that has experienced its fair share of cultural misconceptions and frictions, it is easy to imagine the potential benefit a successful cross- cultural comedy series could bring to Fiji.

After financing the first couple of episodes themselves, Amol says they have now managed to generate support from the university and are hopeful that additional support will be forthcoming from other commercial partners, and possibly even the government.

Amol says the government representatives liked A scene from Spice of Life; Fiji's first cross- cultural TV comedy series watching the first episodes of the show: ‘The government-owned TV Station FBC has been supportive from the beginning because it was keen to show the reality that it’s normal for people from Indo-Fijian and i-Taukei cultures to interact, and for the English, Fijian and Hindi languages to be spoken together. People create issues when there's inter-marriage but on a TV show, you can also show that, for some people, there's no issue,’ he says.

The Vice Chancellor of FNU was so impressed by the first episode that he agreed to provide some seed funding to help get the first seven episodes on air. In addition to creating a good product, Amol says he also viewed this as a good opportunity to boost the profile of FNU’s film school at their Raiwai campus. At FJD 20,000 per episode, Amol says a big chunk of the budget goes towards making sure that the actors and crew get paid. ‘Arun and I agreed from the very beginning that we should be paying our local actors properly because, when all these Bollywood and Hollywood productions come, they don't pay local actors or local technicians much. We want to help create an

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region industry here in Fiji and, if we don't set the standards now, people will just keep using people for free,’ he says.

While FBC has already offered to broadcast the show, Amol says they still need to work with local sponsors who are prepared to invest in their idea. ‘I always wanted to make a feature but I’ve realised it's not viable to do films in Fiji because not many people go to the cinema. With television, you can make it through sponsorship or some sort of funding arrangement that comes like this one with FNU.’

In order to overcome funding and logistical issues with challenges like availability of actors, Spice of Life is currently designed as stand-alone episodes. But Amol says, if they are successful, their long- term plan is to develop a continuous series of up to 13 episodes.

Aliko and Ambai produced by the Centre for Social and Creative Media, Papua New Guinea The feature film, Aliko and Ambai, was produced by the Centre for Social and Creative Media (CSCM) in Goroka, Papua New Guinea. The film was directed by Mark Eby and produced by Verena Thomas from CSCM. Diane Anton, an honours student at CSCM, was both the co-writer – with Jenno Kanagio – and co- director for this production.

This AUD 100,000 production was co- Aliko and Ambai was co-scripted by Diane Anton funded by PACMAS (AUD 50,000, including AUD 15,000 for a regional exchange with Wan Smolbag) and CSCM/University of Goroka, with a contribution of PGK 10,000 from the non-governmental organisation, CARE. The project is still in post-production and CSCM is exploring a mix of direct private sector funding and crowd funding to support distribution.

Aliko and Ambai depicts the lives of two teenage girls, whose stories explore a range of themes, spanning daily life in modern Papua New Guinea from poverty and alcoholism to child abuse, forced marriage, rape and domestic violence.

Diane was joined by the more experienced scriptwriter, Jenno Kanagio, and they worked together to develop the outline before Jenno developed the full-length screenplay. This was then followed by a feedback workshop and additional feedback from experts that helped guide changes for the final draft. Diane says it was important to directly involve a range of different experts from areas such as gender, health and counselling, in the scriptwriting process. ‘They had a look through and provided their feedback of whether or not the stories were realistic and represented well,’ she says.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Mark says this exciting project was also designed to increase the capacity for film production in Papua New Guinea. He says the production engaged 18 participants in a writers’ workshop, trained 28 young people in feature film production, trained 36 actors with speaking roles and engaged with over 150 community members as extras and support staff.

Mark also says that, during production, their crewmembers locally auditioned actors, who provided critical links to the communities where they were filming. ‘In Papua New Guinea, respecting and nurturing these links is vital, otherwise it is not really possible to go out and film on location because of suspicion of outsider motives. One of the main locations was Diane’s home community in Bena, where most of the rural community scenes were shot. These included a tribal fight, a bride price ceremony and general village life.

‘The part of the script that is set in the village was significantly altered, based on input from the community members on how various ceremonies would play out, considering traditional custom. This primarily affected the negotiations for bride price, the delivering of the bride to the village, and under what circumstances a woman whose bride price had already been paid would be allowed to leave her husband. The tribal fight was a scene that was part of the script but the details of how it would be filmed were developed in the village,’ he says.

Francis Wai joined the production as a peer-to-peer trainer from Vanuatu, where he works with Wan Smolbag, producers of Love Patrol. After being directly involved with the production, Francis believes the film touches on key themes that will also appeal to communities outside Papua New Guinea. ‘The beauty of the script is that it portrays the actual real-life issues occurring in PNG: land disputes, quarrels, poverty, love and culture. These are things other Melanesian countries can also relate to,’ he says.

e) Hobbyists

Broken Wind Chime by Sukwadi Productions, Solomon Islands Broken Wind Chime is a poignant and beautifully shot 20-minute film by first time Solomon Islands director, Regina Lepping.

Produced by Sukwadi Media, the total budget for Broken Wind Chime was USD 1150. This production was self- funded as part of a non-profit youth project, arising from sales of Talemaot, an anthology of local poems and stories. This original book project was sponsored by the United Nations Development Programme and the British High Commission. Regina Lepping (second from left) with cast members at the premiere of Broken Wind Chime in Honiara

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Broken Wind Chime has already been submitted for screening at Sydney’s Pasifika Film Festival, which will be held in early November, 2015. Regina would be the first to admit that she owes a great deal of her success to the mentorship and support provided by Anouk Ride and Adilah Dolaiano, the husband and wife team that make up the core of the small Honiara-based production company, Sukwadi Media. While Adilah provided his technical expertise as a cameraman, Anouk was able to nurture Regina’s screenwriting talent and highlight exactly what is required to be a good producer.

Broken Wind Chime tells the story of an unlikely friendship of two young boys in the aftermath of the 2014 floods in Honiara. The main character, Dan, is on the wrong path, drunk, quitting school and fighting with his father. One night, his path takes him to a wild garden with a wind chime where he meets a strange and annoying young boy called Eno. Somehow compelled to return to this same spot, the official film synopsis explains that this story of ‘loss and resilience reminds us that what is broken can still sing’.

For Regina, the main lesson learnt from the experience of making Broken Wind Chime was how to negotiate the collaborative nature of making a film. ‘I don’t mind taking risks if it means my dreams are being fulfilled. If I do my own script and producers want to make changes to my scripts, it is a bit hard but I can teach myself to let it go,’ she says.

Interestingly, Regina has never met Geoffrey Molia, the man who edited her film, even with Honiara being such a small place. Geoffrey says he edited purely based on the script he was given. ‘I was actually excited because it was the first time I had to work with a local writer and it's good knowing that she's a female as well,’ he says.

For Geoffrey, the key to a successful film really lies in the scriptwriting. ‘In order to grow it to a level where we can compete with outside competition for funds, we have to work with other writers to try and build the level to a stage where we could put together a story and present it outside to get the funds. We have to at least do the work ourselves as well to get to a level where we could compete,’ he says.

A full copy of the script for Broken Wind Chime is included in Appendix h).

Envy produced by Noob Productions (Fiji) In 2013, Clarence Dass made a short doco- drama called A Day at the Beach about ozone depletion and climate change. The film won a World TV Award from the Asia Broadcasting Union. Despite the fact that the film was broadcast internationally on 56 stations, Clarence says there was very little interest from the local media in Fiji.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Clarence has now won several awards at Fiji’s Fijian Filmmaker, Clarence Dass Kula Film Festival but he genuinely seems more motivated by the pure joy of making movies in his spare time with his mates. He says he and his friends – Meli Tuqota, Albert Rolls, and Michael John Light – formed Noob Productions just for the sheer fun of making films. ‘We work in different companies and different departments, but we all sort of have the passion for making movies and short films.’

Clarence Dass and his friends shot Envy, a clever little short film about aliens in just one night with a total budget of FJD 150. https://www.youtube.com/watch?v=FOCuInS0gME. When they arrived at the location to shoot, Meli says the cameraman did not show up. ‘So we were screwed. We had no camera, and then my friend Michael – we were shooting at his house – says his brother does wedding videos. So out of the blue he says, “Hey, can you shoot it?” And he says, “Ok, it sounds fun”. In just one night, we shot the short film.’

7. Recommendations

The following recommendations are designed to outline how the Pacific Community could work with relevant stakeholders to support the development of the narrative film and television industry in the Pacific Island region. These recommendations suggest taking a staged approach that can help to improve the immediate coordination of existing assets and resources before working to encourage the introduction of more sustainable governance and management structures at the regional and national levels.

The recommendations in this report are based on the following key findings.

GREATEST ASSET: The Pacific Island region is rich in unique stories and it also possesses much of the raw talent needed to transform these stories into commercially viable film and television products. These products could potentially entertain and inspire, while also creating significant economic, social and cultural benefits for the entire region. While technical training is important, training alone will not produce talented filmmakers. The region must work to identify, nurture and celebrate its most important asset: its creative talent.

BIGGEST GAP: The value cycle analysis in this report identified that the biggest gap in the production cycle for narrative film and television products is at the very first stage of development. There is currently almost no awareness of the need to invest the time and resources to create commercially viable products that will appeal to a wider paying audience at a national, regional and international level. The region must invest in supporting those individual producers who can help to unlock financial resources and kick start the industry out of first gear.

GREATEST NEED: In order to have any chance of developing the narrative film and television sector in the Pacific, there is an urgent need to develop a regional body or association that can effectively represent the needs and goals of its collective membership. This report could provide

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

the starting point for engaging key sector leaders in an effort to develop a manifesto, a roadmap and a single lobbying point for the film and television sector across the Pacific.

Recommendation 1: Establish a regional association of film and television producers The primary recommendation of this report is the need to create a regional association of film and television producers that could support the development of a clear manifesto, roadmap and development plan for the narrative film and television sector in the Pacific.

One of the main reasons for developing a regional association is to provide the single point of focus needed to lobby Pacific Island governments, regional organisations and development partners to develop the national policies needed to support the sustainable development of the narrative film and TV sector. This regional association could also help to forge stronger links between: a) narrative film and television producers from Pacific Island countries; b) Pacific Island filmmakers from diaspora countries; c) regional film festivals, such as the Guam International Film Festival, and the FIFO Festival in Tahiti; d) key potential development partners from the region, such as the New Zealand Film Commission, Screen Australia, and the Asia Pacific Screen Awards based in Brisbane; and e) international funding partners targeting developing countries, such as the World Cinema Fund in Berlin, the Hubert Bals Fund from the International Film Festival Rotterdam, and the Doha Film Fund.

One of the first tasks of this regional association could be to highlight the potential economic, cultural and social benefits that could be generated by investing in the initial development of the sector. It could lobby individual governments to introduce the specific policies needed to encourage and incentivise local narrative film and television production, including: • assigning responsibility for developing the local narrative film and TV sector to specific agencies or positions within government; and • introducing TV quotas for local dramatic content, together with direct development budgets or improved mechanisms for securing direct advertising support or sponsorship from the private sector.

This body could advocate for a more sustainable, market-driven approach to production that uses more effective marketing and distribution strategies via TV broadcast channels and the international independent film market. It could also directly help to kick-start more commercially viable proposals by helping producers access a mix of funding from government, donors, companies, private individuals and international funds.

This regional association should signal its intent by considering the possibility of developing a regional television drama based on pre-sales via regional, national and international television stations (such as Maori TV in New Zealand). The development of an initial six-episode drama series based in Fiji could provide a flagship production that would directly demonstrate the need to

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region combine creative and commercial considerations in the wider development of the film and television sector in the Pacific region.

In order to support the development of a regional body, it may be more realistic to initially advocate for the development of representative associations in four countries: Fiji, Samoa, Papua New Guinea and the Marshall Islands. Fiji is the regional hub and has the most advanced national policy environment for film and television production. Samoa, Papua New Guinea and the Marshall Islands all possess willing production companies and this representation would provide at least initial coverage for Melanesia, Polynesia and Micronesia.

This regional association could encourage countries to learn from the experiences and lessons of Film Fiji, particularly its limited success in supporting the development of the local film and television sector. It could also look to learn from the experiences of Film Raro in its efforts to work directly with Film New Zealand to promote Rarotonga as a tropical location for international filmmakers. It could also encourage national governments to consider: a) creating initiatives to encourage or incentivise foreign productions while also calling for greater opportunities for local film and television producers to actively observe and learn business skills from foreign narrative film and TV productions; and b) providing support, such as local television quotas for dramatic content that are matched by development funding opportunities using a mix of funding sources from national budgets, donors and international funds.

This regional association could advocate for the development of more industry-appropriate training courses via existing training institutions, such the Fiji National University and the Centre for Social and Creative Media. It could also support these training institutions to consider seeking donor support to kick-start the development of more commercially sustainable productions at both the national and regional levels.

Finally, this new regional association could help to immediately highlight, nurture and celebrate the great talent that already exists across the region by advocating for more opportunities for these film and television producers to share experiences, showcase their stories, and discuss their hopes and dreams for the future development of Cinema Pasifika: the narrative film and television production sector of the Pacific Island region.

The following list of people from relevant production and broadcast companies, training institutions and key development partners could be approached directly to consider whether they would be interested in joining or supporting the development this new regional association.

Name Role Country Verena Thomas Director, Centre Social and Creative Media Papua New Guinea (CSCM) Emmanuel Narakobi Director, Masalai Productions Papua New Guinea Richard Broadbridge Managing Director, Click TV PNG Fiji/ Papua New

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Guinea Dallas Foon (in an CEO, Film Fiji Fiji advisory capacity) Arun Chakravorty Head of Film and TV Department, Fiji Fiji National University Ken Clark Former CEO, Fiji TV Fiji Jo Dorras or Peter Co-founders, Wan Smolbag Vanuatu Walker Anouk Ride or Adilah Co-founders, Sukwadi Media Solomon Islands Dolaiano Jack Niedenthal or Co-founders, Microwave Films and Trust Marshall Islands Suzanne Chutaro Liaison for the people of Bikini Atoll Rico Tupai Director, Skylite Samoa Samoa Kel or Don Muna Founders, Guam International Film Festival Guam Dave Gibson Chief Executive, NZ Film Commission New Zealand Graeme Mason Chief Executive, Screen Australia Australia

Recommendation 2: Hold a regional workshop for film and television producers and key stakeholders SPC should invite interested film and television producers and directors to apply for the opportunity to attend a regional workshop with their peers from the world of independent narrative film and television production. In order to be selected, participants should be asked to submit a short film or narrative television product for review. This workshop could be used to: • develop an agreed vision, mission and roadmap for the regional association of film and television producers; • discuss how the creative and commercial components of independent film and television production can be combined effectively in a Pacific Island context; • discuss opportunities for developing commercially sustainable productions at a national, regional and international level via a mix of government incentives, donor funding, international film funds, and more effective marketing and distribution strategies; • discuss the practical measures needed to secure development funding from international film funds, such as the Hubert Bals Fund, the Doha Film Fund and the He Ara Fund in New Zealand; • discuss the preferred structure of a dedicated regional training project focused on the development of short film or television products that can be used to help source further development funding; • discuss strategies to develop a talent incubator for directors and entrepreneurial producers who have demonstrated the potential to develop successful film and television products that will appeal to domestic and export markets. Targeted support could include: o business training for independent film producers; o provision of seed funding to help producers access international funding opportunities; and

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

o increased opportunities for local producers to directly observe international productions. • discuss the preferred approach for supporting a dedicated regional film festival for the Pacific Islands and strengthening opportunities via existing festivals, such as the Festival of Pacific Arts, FIFO, the Guam International Film Festival, the Pasifika Film Festival and the Fiji International Film Festival; • discuss development and distribution opportunities with key invited stakeholders, including Film Fiji, the New Zealand Film Commission, Screen Australia, Australia’s Department for Foreign Affairs and Trade (DFAT), the European Union, independent film producers (such as Catherine Fitzgerald, producer of The Orator), and selected Film Festival organisers; • discuss additional ideas for improving development pathways, including opportunities to showcase talent for funding and development partners; • provide participants with a rare opportunity to directly share their film and television products with regional production experts from Australia and New Zealand; and • host a script concept or pitch development lab.

Possible workshop participants could include: • Regina Lepping, Julian Maka'a, Adilah Dolaiano and Anouk Ride (Sukwadi Media, Solomon Islands) • Jack Neidenthal and Suzanne Chutaro (Microwave Productions, Marshall Islands) • Jo Dorras, Peter Walker, Francis Wai (Wan Smolbag, Vanuatu) • Willie Nampi (Director of Strange Creatures, Vanuatu) • Toepo Eliza Ti’ava’asu’e Hunt (ETV Productions, Silamanino) • Clarence Dass and Meli Tuqota (Noob Productions, Fiji) • Amol Lal and Arun Chakrovorthy (Producers of Spice of Life, Fiji) • Larry Thomas (Director of Enduring Hope, Fiji) • McPolly Koima (Tribal Voice ArtsLink) and Emmanuel Narakobi (Masalai Productions) (Producers of Hands Up! and Grace, Papua New Guinea) • Verena Thomas, Diane Anton and Mark Eby (Centre for Social and Creative Media, Papua New Guinea) (Producers of Aliko and Ambai) • Rico Tupai (Skylite Productions, Samoa) • Richard Broadbridge (Managing Director of Click TV, Papua New Guinea) • Dale Hermansson (Managing Director of Pasifika Communications, Fiji) • Ken Clark (former CEO of Fiji TV) • Catherine Fitzgerald (Independent Producer of The Orator, New Zealand) • Jasmin McSweeney (New Zealand Film Commission) • Sima Urale (Head Tutor of New Zealand Film School)

Recommendation 3: Directly support producers and directors to access seed funding Direct training and guidance should be provided to help producers and directors from Pacific Island countries to apply for development funding from international funds. This initial guidance could be provided at minimal cost via the SPC website or through direct training workshops.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Few Pacific Island narrative filmmakers are aware that they are eligible to apply for development funding that has been set aside specifically for directors and producers from developing countries. Internationally, there is a range of development or ‘seed’ funds available through the Organisation for Economic Co-operation and Development’s (OECD) Development Assistance Committee (DAC) and their list of countries and territories that are eligible to receive official development assistance.

Funds of between USD 1000 to 50,000 (but usually less than 10,000) can be provided to producers or directors of independent feature or documentary films to support script development, attend training/development programmes, or to assist producers in hiring resources to develop financing plans to address legal aspects. These funds include the following. • the Norwegian South Fund • the Hubert Bals Fund (Netherlands) • the Doha Fund • the Global Film Initiative • the new Bertha Britdoc Fund (USA) • Hot Docs-Blue Ice Group Documentary Fund (Canada) • the IDFA Fund (Netherlands/documentaries) • the All Roads Film Grant (National Geographic, USA) • the Sundance Documentary Fund (USA) • I believe in You Grant (USA) • PUMA Creative Catalyst Award (UK) • the French-speaking Fund for the Audiovisual Production of the South (OIF, France) • the Asian Cinema Fund (Korea)

Closer to home, the Asia Pacific Screen Awards, which is based in Brisbane, Australia, also provides training and funding support structure for people from the Asia Pacific region who want to make feature films. Pacific Islanders can also access funds like the He Ara Fund in New Zealand if they partner with a New Zealand-based producer.

While producers and directors from most Pacific Island countries are eligible for this funding, the Pacific region is rarely shown as a target region for many of these international funds. Targeted individual submissions to these funds could be accompanied by letters from SPC, politely requesting that these funding bodies officially or publicly recognise that Pacific Island nations are eligible to apply. Ideally, a contract position within SPC could be funded for three-to-six months to develop clear guidance for securing access to international funding and training opportunities.

Recommendation 4: Develop a competitive short film fund for the region The Cinema Pasifika television series could be used to help attract the small amount of donor and/or private sponsorship needed to support the development of a small competitive short film fund for the region. The total cost of this initiative, including funding and training, could be in the region of USD 35,000. Ideally, this targeted regional training and development programme could be supported as an extension of the Australian-funded Pacific Media Assistance Scheme (PACMAS).

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

The pilot phase of this fund could focus on providing five grants of USD 3000 per film. All of the submissions would be required to provide clear marketing, distribution, production and development plans for their short films (including plans to seek development funding from international funds). Each winner would receive remote script development support and one-week of regional training support provided by Sima Urale, Head Tutor at The New Zealand Film and Television School (or a similarly qualified trainer).

In addition to their concept and script treatment, all applicants would have to demonstrate evidence they can: • produce a short film (such as previous efforts); • provide a compelling pitch (based on creative and commercial considerations); and • prepare a clear budget and plan based on existing resources in their countries.

A possible outline budget for this initiative could total USD 35,000: • USD 5000 to administer and manage the project; • USD 3000 per country by five countries – USD 15,000; • USD 5000 – training/expenses; and • USD 10,000 for the winning film. This money is used to improve the film, based on feedback from the judges, and to support ongoing development, marketing and distribution efforts. Broadcast deals for all the short films could also be negotiated with Australia Plus and other national, regional and international broadcasters.

This initiative could also act as the catalyst for developing a dedicated film festival event for Pacific Island-based filmmakers as part of an existing film festival in an accessible location, such as the Fiji International Film Festival.

Recommendation 5: Support Film Fiji as a regional leader for sector development The objective of Film Fiji is to boost the local film and television industry. Its stated vision is to make Fiji the ‘audio-visual hub of the South Seas’. While Film Fiji has been successful in encouraging foreign productions, its impact on the development of the local narrative film and television sector is negligible. Film Fiji should be encouraged to take a regional leadership role in the development of the narrative film and television sector in the Pacific by undertaking the following key steps. a) Support greater participation of local professionals in foreign productions, even if this is only by granting observer status to directors and producers for short periods of time to help these people learn the craft and business of narrative film and television production. b) Review the impact of the Kula Film Awards on the development of the local film and television sector. It needs to seriously consider providing support for an independent festival specifically designed for local and Pacific-island based filmmakers. This festival should take a more market- oriented approach by helping interested filmmakers to understand how they can market their films and seek additional development finance from international funding bodies.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

c) Support Fiji National University to develop its Film and TV School to meet international standards, and boost its role as a potential training and production hub for the entire region. d) Demonstrate its intent and support for the local industry. Film Fiji should also provide direct support for ‘flagship’ initiatives, such as the new cross-cultural TV series Spice of Life. e) Review its current incentives for local productions to determine whether it is working to boost local film and television production. It then needs to ask what alternative incentives could be put in place to encourage local film and television producers to seek additional sources of matched funding for their concept development work. f) Take a more active role in encouraging the provision of local quotas for dramatic content on national television channels, together with more effective funding incentives that are designed to support Fiji’s cultural, social and economic objectives. It needs to take a more active role in supporting the development of local creative film and television industries as a source of employment, promotion and export opportunities for the Government of Fiji.

Recommendation 6: Support national development plans for the narrative film and television sectors in Pacific Island countries For many Pacific Island countries, the reality is that the development of the narrative film and television sector is simply not on the current list of priorities. The economic development ministries for all SPC member countries should be asked to consider undertaking a rapid assessment of opportunities to boost the local narrative film and television sectors by: a) reviewing the impact of foreign film and television productions in Fiji; b) assessing the potential impacts of utilising increased foreign and domestic film and TV production to boost tourism revenues; and c) considering the cost/benefit of introducing quotas to support increases in local dramatic content by: • providing training and development opportunities for young people; • supporting cultural, heritage and language objectives; and • boosting local performing arts and theatre programmes.

Undertaking these initial rapid assessments will provide a stronger focus for the proposed regional association to engage with national governments about the most appropriate and cost-effective ways to develop the local sectors with a range of different contexts and resources.

Cinema Pasifika - A showcase of short films from the Pacific Islands on Australia Plus TV As a direct result of this research project, the regional TV broadcaster, Australia Plus, will screen a series of six half-hour TV programmes, showcasing short films and directors from several Pacific Island nations. This programme, which is scheduled for broadcast in mid- November, is designed to celebrate the diverse and unique cinematic voices that are already emerging across Polynesia, Melanesia and Micronesia. Australia Plus currently broadcasts to over 50 countries, including most Pacific Island nations, with a total potential audience in the tens of millions. A small fee will be provided directly to all the contributing filmmakers and 53

this will be the first time that several of them have received any direct payment for their creative work. In fact, the total economic value of this single broadcast initiative far exceeds the amount of funding that was invested in support of this research project. In this first series, the films are followed by short interviews with the filmmakers about their creative

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

8. Appendices

a) Interview list

Interviewee Designation Country 1. Larry Thomas Playwright, Filmmaker Fiji 2. Lailun Khan Audiovisual agent - production company, Fiji local casting and crew agent, lawyer, line and local producer, location scout 3. Wame Valentine Actor Fiji 4. Anurag Subramani Producer, Scriptwriter, Director, Academic Fiji 5. Sian Rolls Scriptwriter Fiji 6. Epeli Vakatawa Producer - local TV show on FijiTV Fiji 7. Mika Loga Reporter, Senior Desk Editor - FijiTV Fiji 8. Arun Chakravorty A/Head of Film and TV Department, Fiji Fiji National University 9. Ravi Malik Director of UniStudio at the Fiji National Fiji University 10. Colin Tang Casting Agent, Producer Fiji 11. Dave Lavaki Sound Engineer, Filmmaker Fiji 12. Amol Lal Independent Film Producer Fiji 13. Clarence Dass Independent Filmmaker Fiji 14. Ken Clark Former CEO of Fiji TV Fiji 15. Dale Hermansson Managing Director of Pasifika Fiji Communications 16. Florence Swamy Former Acting CEO of Film Fiji Fiji 17. Dallas Foon CEO of Film Fiji Fiji 18. Meli Tuqota Independent Filmmaker, Animator Fiji 19. Mohit Prasad Producer, Scriptwriter, Director, Academic Fiji 20. Satish Rai Filmmaker, Producer, Scriptwriter, Director Fiji 21. Aren Baoa AV Production Trainer Fiji 22. Rico Tupai Director, Skylite Productions Samoa 23. Eliza Hunt Director, ETV Productions Samoa 24. Steve Percival Documentary filmmaker Samoa 25. Tusi Tamasese Independent Filmmaker Samoa 26. Maea Tamasese Independent Filmmaker Samoa 27. Lani Wendt-Young Published Author Samoa 28. Rudy Bartley Director WTM Productions Samoa 29. Marjorie Moore Editor, Samoa Observer Samoa 30. Dionne Fonoti Independent filmmaker Samoa 31. Twayne Laumua Independent filmmaker Samoa 32. Sarah Doyle Operations Manager, Further Arts Vanuatu 33. Peter Walker Wan Smolbag, Creative Director Vanuatu

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Interviewee Designation Country 34. Jo Dorras Wan Smolbag, Writer Vanuatu 35. Francis Wai Wan Smolbag, Cameraman/Filmmaker Vanuatu 36. Nicky Kuautonga Independent Filmmaker Vanuatu 37. Marcel Meltherorong Previous Artistic Director, Further Arts Vanuatu 38. Takau Jacob Manbush Productions Vanuatu 39. Ambong Thompson Cultural Centre Video Unit (Under Ministry Vanuatu of Affairs) 40. Roselyn Tari Nesar Studio, Further Arts Vanuatu 41. Matthew Hardwick American creative consultant Vanuatu 42. Talita Tu'ipulotu Talita Tu’ipulotu (Tongan), IF (Innovation Vanuatu Fund) Coordinator, PACMAS (based in Vanuatu office) 43. Ofa Guttenbeil Filmmaker, CEO for Tonga Women Crisis Tonga Centre 44. Steve Vete Co-founder of ‘On-the-Spot’ (Tonga’s first Tonga theatre arts shows) 45. Ebony Fifita Co-founder of ‘On-the-Spot’ Tonga 46. Josh Savieti Runs Icon Creative Tonga - creative arts Tonga youth organization 47. Salome Lionheart Marketing Director for Lionheart Tonga Entertainment 48. Isi Taufa Editor at Digicel TV Tonga 49. Saia 'Uta'atu Member of On-the-Spot, participant of Tonga their filmmaking course in 2014 50. Mercy Kafalava Member of On-the-Spot, participant of Tonga their filmmaking course in 2014 51. Malani Wolfgramm Filmmaker Tonga 52. Viola Ulukai TV Tonga News Director Tonga 53. Nonga Pulu Runs the Fili Tonu Drama Group under Tonga Tonga Family Health Association 54. Samu Lala Published Author Tonga 55. Ofa Lionheart Owner of LionHeart Entertainment - Tonga directed and produced the documentary for WIP 56. Decker Taukolo Filmmaker, Lecturer for filmmaking at the Tonga vocational school - started in 2014 57. Anouk Ride Producer, Sukwadi Media Solomon Islands 58. Adilah Dolaiano Cinematographer and Director, Sukwadi Solomon Islands Media 59. Regina Lepping Filmmaker Solomon Islands 60. Dennis Marita Acting Director for Culture Solomon Islands

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Interviewee Designation Country 61. Evan Wasuka Former News Director – One Television Solomon Islands 62. Geoffrey Molia Senior Editor Solomon Islands 63. Lornah Adomea Independent Filmmaker Solomon Islands 64. Julian Maka’a Writer, Head of Creative Writers Solomon Islands Association 65. Peza Wickham Video producer Solomon Islands 66. Georgianna Lepping Actor Solomon Islands 67. George Herming Former journalist now responsible for film Solomon Islands permits in PM’s Office 68. Ashley Wickham Head of SIBC Solomon Islands 69. Dorothy Wickham Former Head of One Television Solomon Islands 70. Vincent Nomae Writer and Academic Solomon Islands 71. Francis Ambrose Filmmaker Solomon Islands 72. Verena Thomas Director, Centre for Social and Creative PNG Media (CSCM) 73. Llane Munau Director, Pawa Meri PNG 74. Emmanuel Narokobi Independent Film Producer PNG 75. Diane Anton Scriptwriter/Filmmaker PNG 76. McPolly Koima Filmmaker/Actor PNG 77. Jack Niedenthal Microwave Films RMI 78. Suzanne Chutaro Microwave Films RMI 79. Mike Fox Oceanic TV Palau 80. Sally-Ann Wilson CEO, Public Media Alliance Regional 81. Kate Raseta PACMAS, Digital Project Regional 82. Richard Broadbridge Managing Director Click TV PNG Regional 83. Stan Wolfgram Director, Drum Productions Regional 84. Nanette Woonton Media Manager, Trainer and Broadcaster Regional 85. Catherine Fitzgerald Film Producer Regional 86. Vilsoni Hereniko Film Director, Academic Regional 87. Michael Brook Manager, Screen Auckland Regional 88. Larry Parr Manager, Television Funding Portfolio, Te Regional Māngai Pāho 89. Chris Tyson Incentives Executive, New Zealand Film Regional Commission 90. Kalo Fainu Director Pasifika Film Festival Regional 91. Sima Urale Head Tutor, NZ Film School Regional

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

b) Cinema Pasifika − A Showcase of Short Films from the Pacific Islands

In mid-November 2015, Australia Plus will screen a series of six half-hour TV programmes, showcasing short films from several Pacific Island nations. This programme is designed to celebrate the diverse and unique cinematic voices that are emerging across Polynesia, Melanesia and Micronesia. In this first series, each film is followed by a short interview with the filmmakers about their creative inspirations, influences and plans for the future.

Episode 1: Va Tapuia (Sacred Spaces) In Va Tapuia (Sacred Spaces), Taro planter Lui’s grief for directed by Tusi Tamasese (Samoa) his dead wife has infected his whole life. A chance meeting with a stranger, a widow bound in anger to the grave of her husband now drowning in their cyclone- devastated village, inspires Lui to reach out to her. This releases him from his own pain and allows his wife to rest. In the accompanying short interview, Director, Tusi Tamasese, says he wanted his short film to explore the effects of loss on different people – in this case, someone who has lost a loved one and another who has lost a person she detested but cannot seem to escape from. Episode 2: Broken Wind Chime Broken Wind Chime tells the story of an unlikely directed by Regina Lepping (Solomon friendship of two young boys in the aftermath of the Islands) 2014 floods in Honiara. The main character, Dan is on the wrong path – drunk, quitting school and fighting with his father. One night, his path takes him to a wild garden with a wind chime where he meets a strange and annoying young boy called Eno. Somehow compelled again to return to this same spot, the official film synopsis explains that this story of ‘loss and resilience reminds us that what is broken can still sing’.

Episode 3. Zori by Jack Niedenthal and On an island, a flip-flop (Zori) is a terrible thing to lose. Suzanne Chutaro (Marshall Islands) Labro, a young Marshallese boy, is anxious for his grandmother to buy him an ice-cream. But when she orders him to clean up the garbage first, he realises that one of his Zoris is missing. The angry old woman gives him an ultimatum not to come back until he has Zoris on both of his feet. So Labro begins his quest under the hot sun to clean up ‘everywhere’ and to find his lost Zori.

Episode 4. Hans Up! Buai O Laip Blong In “Hands Up! Your Betel Nut or Your Life!”, a pair of Yu! Hands Up! Your Betel Nut or Your inept raskols (criminals) on the streets of Port Moresby

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Life! by Emmanuel Narakobi (Papua in Papua New Guinea have a run in with a local buai New Guinea) (betel nut) seller. In the accompanying interview, director and producer, Emmanuel Narakobi, talks about his experiences making this hilarious short film and his serious dreams for reviving the narrative film business in Papua New Guinea. Episode 5. Envy and Kania na Yalo In this episode, Fijian Filmmaker, Clarence Dass, talks Bula by Clarence Dass (Fiji) about his fascination with zombies, horror films and the art of suspense. While he is mostly well-known in Fiji for making award-winning documentaries on climate change, Clarence longs for the day when he can make feature-length splatter films with his close mates from Suva. Episode 6. Painim Aut produced by Esther is a teenager living in a village in Simbu Province. the Centre for Social Communications She begins to drift apart from her family when her and Media (Papua New Guinea) friendship with Jimmy, a boy working at the supermarket, develops into something more. After hearing that another one of his girlfriends is HIV positive, she worries that she might also have the virus. Reluctantly at first, she seeks the advice of an old school friend, Karina, who has the virus. Karina encourages her to get tested. But how can she confront Jimmy and convince him to get checked with her?

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

c) Links to Pacific films

Short Films Solomon Islands Broken Wind Chime Electronic files only Director – Regina Lepping Wea Nao Mi? (Where Am I?) https://www.youtube.com/watch?v=3L6_-0z267s Annie Balatabasi (SP) From an idea by Regina Lepping Samoa Va Tupuia – written and Electronic files directed by Tusi Tamases Trailer - https://www.youtube.com/watch?v=IytN1uy3QNw RMI Zori https://www.youtube.com/watch?feature=player_embeddedan Director – Jack Niedenthal dv=9QESPfd3pWw Papua New Guinea Hands Up! Your Betel Nut or https://www.youtube.com/watch?v=ERgjQ91Btno Your Life! Written, produced and directed by Brendan Walsh and Emmanuel Narakobi Fiji Envy https://www.youtube.com/watch?v=FOCuInS0gMEandlist=PLk3 Director - Clarence Dass 93kil4zq-OtGN0nfM2wMd4rcO0gHGNandindex=3 The Chase https://www.youtube.com/watch?v=3L6_-0z267s Director - Pita Thompson Producer - Sachiko Miller Road Kill https://www.youtube.com/watch?v=InISlnXuRXQ Director - Mitesh Mudaliar Vanuatu Strange Creatures To come Director – Willie Nampi

TV Dramas in production Spice of Life – by Arun Electronic version of Episode 1 Chakrovorthy and Amol Lal Grace – by McPolly Koima

Features in production Aliko and Ambai Feature in postproduction

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

d) Producer responsibilities check list (compiled by NZ independent producer, Catherine Fitzgerald)

Financial responsibilities Yes No Cash investment at any stage of development, production, release Deferral of fees Unpaid professional services Cashflow cover (e.g. development, GST, unbonded NZSPG) Company director/shareholder SPV and or production company Bank account deed Copyright holder liabilities and responsibilities Signatory to financing contracts – including loans (whether fully recourse, limited recourse, equity) at any stage of development, production, release Signatory to completion guarantee Signatory to insurances – including errors and omissions Signatory to all deeds of security Signatory to cash flow in finance Signatory to supplier contracts Signatory to sales agreements Signatory to distribution agreement Signatory to NZ Screen Production Grant obligations Signatory to collection agency agreements Government compliance – companies act Government compliance – tax – GST, withholding tax, income, etc. Government compliance – employment laws Government compliance – OSH

Development phase

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Financial responsibilities Yes No Conceives of the underlying concept, or identifies the potential and options the material on which the production is based. Assesses the market potential and develops the initial financing strategy. Contractually secures necessary rights for development and production of the material (Chain of Title). Sources and contracts the financing for development. Selects and engages the writer(s). Collaborates with the writer(s) on development of the screenplay. Manages project development strategy, including securing relevant professional advice as required from, inter alia, legal, financial, script development consultants, and other key creatives. Selects and engages the director. Develops the finance plan and sources and secures production financing. Responsible for the preparation of the preliminary budget and related documents. Serves as the primary point-of-contact for the financing entities, distributor, sales company. Serves as the New Zealand producer in official co-production agreements, including due diligence.

Pre-production phase Selects the principal cast in consultation with the director. Selects the production designer in consultation with the director. Selects the co-producer, executive producer and/or unit production manager. Participates in location scouting with the director. Selects the cinematographer in consultation with the director. Selects the visual effects company in consultation with the director. Selects the editor in consultation with the director. Approves final shooting schedule in consultation with the director. Approves and signs the final budget. Approves the final shooting script. Approves deals for the principal components of the production.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Financial responsibilities Yes No

Production phase Supervises on a daily basis the on-set day-to-day operation of the shoot and of all talent and crafts. Provides regular/daily in-person consultation with the director. Provides regular in-person consultation with the writer(s). Provides consultation with the principal cast in collaboration with the director. Provides regular in-person consultation with the production designer and art department in collaboration with the director. Provides consultation on wardrobe, make-up and hair in collaboration with the director. Approves daily reports. Approves the weekly cost reports. Views the dailies and provides regular and timely in-person consultation with the director, editor, financing entities, distributors, sales agent and/or networks. Manages all marketing and publicity material, including stills and EPK and later, promos and trailers in consultation with publicist, distributor and sales.

Post-production phase Consults with the director, editor, financing entities, distributors, sales agent and/or network on the editing of the production. Approves the marketing plans for the motion picture. Approves the distribution plans for the motion picture. Approves the plans for exploitation of the motion picture in foreign and ancillary markets. Selects the composer in consultation with the director. Selects the music supervisor in consultation with the director and composer. In-person participation on visual effects in consultation with the director. Responsible for archiving all delivery materials.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Financial responsibilities Yes No Commercial exploitation phase Approves and monitors sales and marketing budgets. Actively contributes to marketing and sales publicity plans as and when required. Receives and monitors sales, distribution, collection agency reports. Responsible for compliance with all investor contracts, including ‘points’ participants. a. Writer. Written contributions to the story or script are considered duties discharged as a writer, and shall not be counted towards the individual's producing duties if the individual received a writing credit. b. Executive/Employee. If an executive or employee of a studio distributing and/or financing the motion picture receives credit as Produced By, he or she must demonstrate a significant and dedicated commitment of time and resources to the production of the motion picture beyond his or her duties as an executive. c. Director. Because of the uniquely flexible nature of the producer-director collaboration in the creation of motion pictures, many producing functions may be performed by a director in the course of his or her directorial duties. However, this flexibility shall not be interpreted to mean that every director is, therefore, also eligible to use the Producers Mark. To be deemed eligible, the director must have undertaken significant producing duties beyond what he or she would normally perform as director. Possible examples of such involvement might include: substantial contributions to the development process; a demonstrated attachment to the production, predating the production deal made with the Production Company; involvement with the project preceding that of all other producers; responsibility for all budgetary concerns; securing significant financing; and playing a decisive role in determining marketing and distribution strategies.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

e) Budgets for Pacific film and TV productions

Features (theatrical release) Short films TV Dramas or Soaps Docos/Docu-Dramas The Orator The Broken Wind Chime Love Patrol The Test Budget Under NZD 2.5 m USD 1150 AUD 800,000 (~ 80K per episode in a 10x25 USD 100,000 from French minute episode series) This includes non- and Pacific production production costs, such as copies on DVD and users guides for schools and launches, but many core actors paid by core support, not the film Funding From NZFC 91% Self-funded, youth project Australian Aid CBA Worldview Private investor 6.6% arising from Talemaot France Televisions Samoa Government grant bookBook was sponsored 2.6% by UNDP and British High Commission Production Blueskin Films in association Sukwadi Media Wan Smolbag Theatre Compagnie des Taxi Brousse partners with the NZ Film Commission Sukwadi Media France Televisions Distribution Worldwide distribution Local screenings, Pacific DVDs distributed to schools in Vanuatu and Screened on France O and strategy primarily consisted film festivals beyond; some individual sales and on most France Televisions global of: Pacific Island TV stations network • NZ, Australia and Local screenings in Honiara Pacific (in cinemas, Planned screenings in Suva Pay TV, TV, DVD, VOD (USP Oceania Centre) (online video on Premiered at FIFO Oceania demand) Documentary Festival • Switzerland and Other international television Germany – cinemas networks currently under and all other media negotiation

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Features (theatrical release) Short films TV Dramas or Soaps Docos/Docu-Dramas The Orator The Broken Wind Chime Love Patrol The Test • USA: VOD multiple platforms • Airlines in NZ, Australia, Singapore

Also taught and studied at universities in NZ, India, USA, and Sweden Reach Worldwide Estimated 1000 people Pacific wide Estimated 80,000+ Revenue TBC – private investor almost Youth project, not for Very little: NITV AUD 5000 a series; ABC Break-even budget, perhaps recouped – ongoing sales profit international AUD 3500 a series. All Pacific small revenue forthcoming company ceased operation island stations get it for free; they cannot afford to pay

The Land Has Eyes Zori Silamanino A Day At the Beach Budget n/a 0 USD 40,000 per episode No budget. Shot in one day edited in five, with directors own time and borrowed equipment from FBC Funding n/a 0 From DVD sales Zero Production n/a 0 ETV Productions only Noob Productions partners Distribution n/a n/a Via DVD in Samoa, NZ and Australia 52 broadcasters following competition win Reach n/a DVD (w/Jilel) Sept 2015 International exposure – unclear on specific numbers Revenue n/a USD 30,000 n/a – enough to cover production and None

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Features (theatrical release) Short films TV Dramas or Soaps Docos/Docu-Dramas The Orator The Broken Wind Chime Love Patrol The Test promotional costs

The Sound of Crickets at Envy The Spice of Life (in production) Pawa Meri (6 x half hour Night documentaries) Budget USD 2000+ Less than USD 100 FJD 112,295 AUD 300,000 Funding 0 Self-funded, group of 7 Episodes (~ FJD 16,042 per episode) DFAT friends putting in both time 50% funding from FNU as part of their and (limited) funds to curriculum. Raise remaining 50% from the contribute market. Govt. provides 150% tax rebate to local sponsors Production n/a Noob Production Fiji National University Centre for Social and Creative partners Media (CSCM), University of Goroka and Victoria University, Melbourne Distribution DVD, Vimeo on Demand Local screening, Youtube FBC TV. The TV Station will air it for free. CSCM 12/2015 Their revenue will be from the ad breaks DVDs, Screenings, Festivals, TV Reach 2500 DVDs, 30,000 people 844 views on Youtube so 90% of Fiji population Over 5000 DVDs distributed far in PNG, International Film Festivals, Pacific Broadcasters Revenue USD 8000+ Not for profit Revenue generated from the sponsors will Income from DVD Sales, go to the producer. The sponsors, in return, Merchandise Sales and will get naming rights, product placements Broadcast Licensing is re- in the show, and opening and closing invested in distribution credits. Also in the promos. FBC will run one month promotion prior to airing

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Features (theatrical release) Short films TV Dramas or Soaps Docos/Docu-Dramas The Orator The Broken Wind Chime Love Patrol The Test

JILEL The Chase Grace TV series (in production) Written, directed and produced by McPolly Koima Budget USD 2000+ n/a USD 180,000 for first series but still seeking USD 500,000 to launch series 1 and 2 Funding 0 n/a AusAid Production n/a n/a Tribal Arts Link in association with Masalai partners Communications Distribution DVD in Sept of 2105. VOD n/a Currently developing plan, involving a 2016 combination of free-to-air (via EMTV) and contract for mobile content distribution via Bmobile Vodafone. Telikom owns EMTV and Bmobile Vodafone is government- owned. They believe this multiplatform approach will provide greater reach and return than partnering with Digicel. Reach 30,000 people n/a PNG, Solomon Islands, Vanuatu, New Zealand, Australia Revenue USD 10,000+ n/a Advertising, Distribution, SMS

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

f) Pacific film festivals

Name Start/Location Organizers Description Website World 2013 (not USP, Suva – April Provides Pacific film makers a platform to showcase their http://www.abu.org.my/Latest_New Oceania happening in 11–17 work and to garner support for future projects. ‘Aside s-@- International 2015) (French Embassy from Australia and New Zealand, we don't have that Fiji_hosts_its_first_international_fil Film Festival said will not be much support so we are hoping that this will generate m_festival.aspx running this year – interest and, through the interest, some kind of support, French Embassy whether it's from the private sector, from government or https://www.facebook.com/pages/I funds it) from university.’ – Festival Director, Larry Thomas slands-in-the-World-Oceania- International-Film-Festival- FIJI/153564401477872 Fiji Film 2009/Village 6 Fiji National The Fiji Film Festival was designed to interest people in http://www.fijitimes.com/story.aspx Festival Cinemas, FNU University film-making and the film school at FNU. Director, Dr ?id=314400 centres Chand said the festival was a way to create awareness around Fiji within the community and amongst prospective students, parents and other stakeholders about the remarkable opportunities in the burgeoning world of film and TV. Namatan 2012/Vanuatu The Australian High The Namatan Short Film Festival was first launched in http://www.vanuatu.embassy.gov.a Short Film Commission- 2012 to give the people of Vanuatu a chance to express u/pvla/events.html Festival Vanuatu their ideas and creativity through film. In 2013 and 2014, Broadcasting and the story continued, with the finalists being screened to Television over 3000 people around the country. Through Corporation (VBTC) sponsorship by Air Vanuatu, it is expected that 2015 will be even bigger and better.

The name ‘Namatan’ (or ‘eye’) and slogan ‘ae blo yu, lukluk blo mi’ were chosen to represent the festival. Namatan’s aim is for ni-Vanuatu filmmakers, amateur and

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Name Start/Location Organizers Description Website professional, to share their vision and for the audience to take their own messages away from each story. Pasifika Film 2015, Sydney Kalo Fainu, The Pasifika Film Festival seeks to promote an inter- https://filmfreeway.com/festival/Pa Festival Festival Director relationship between the Polynesian, Melanesian and sifikaFilmFest The 2nd Micronesian peoples of the Pacific, as well as to accent Pasifika Film the distinctiveness that identifies each individual culture Festival took through their language, customs, politics, history and place from 4– unique perspective. The Liklik Piksa (Little Picture) Award 8 Nov, 2015. is awarded to the best short film of the festival, as decided by the festival judges. Short films must be no longer than 30 minutes.

Broken Wind Chime has been accepted but most films are from diaspora populations, especially in Australia.

New 2007/Pwêêdi Financed by the The festival presents a selection of documentary films http://www.anuuruaboro.com/ Caledonia Wiimîâ North Province and from all around the world, the Pacific area and New Film Festival (Poindimié) the Government of Caledonia. The films are screened in the three provinces New Caledonia of the country but mainly in Pwêêdi-Wiimîâ (Poindimié).

The main goals are: • to offer the New Caledonian population a new insight on the world, through a wide and demanding selection of documentary films; • to make documentary filmmaking accessible, including in regions where it does not generally reach;

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Name Start/Location Organizers Description Website • to offer New Caledonian citizens the opportunity to bond, share and get to know each other on the back hand of this unconventional event; • to develop the New Caledonian film industry and acquire a better knowledge of the different cinema careers, through professional training available during the festival; and • to encourage invasive ideas and new talents to emerge. Tonga Film 2008/ Neka Aipolo funded To give the youths of Tonga a taste of becoming a YouTube channel: Festival Nukualofa it himself/(Only ran filmmaker – open submissions to Tongans, especially https://www.youtube.com/user/isla for 2 years) youths. 16 short films were submitted in all with some ndboyneka1/videos having over 100,000 viewers. Tafaoata 2011 The Festival is co- Along with the screening, hosted a workshop for people http://lists.spc.int/pipermail/culture Film Festival sponsored by interested in meeting Samoan directors, actors and talk/2011-November/002678.html Sundance Institute members of the industry. (USA) and The Film Institute (NZ) New Zealand 2014 NZ Ministry of To mark the Treaty of Friendship signed 50 years ago http://www.mfat.govt.nz/Media- Film and TV Foreign Affairs and between NZ and Samoa: Samoa’s TV3 will screen 28 and-publications/Features/440-NZ- Festival Trade has hours of high quality films and television programmes, Films-Samoa.php collaborated with featuring New Zealanders and Samoans, working together the NZ Film as actors, writers and directors. Commission Hawai’i 1981/Honolul East-West Centre As the vanguard forum of international cinematic http://www.hiff.org/ International u, Hawai’i achievement in the Asia-Pacific region, Hawai’i Film Festival International Film Festival (HIFF) endeavours to recognise

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Name Start/Location Organizers Description Website new and emerging talent, promote career development and original collaborations through innovative education programmes, and facilitate dynamic cultural exchange through the cinema arts. In 1981, HIFF’s inaugural year, the programme consisted of seven films from six countries, which were viewed by an audience of 5,000. Today, HIFF is a premiere cinematic event in the Pacific and annually attracts more than 70,000 film enthusiasts from around the state, the nation and the world. HIFF is unique in discovering features, documentaries and shorts from Asia made by Asians, films about the Pacific made by Pacific Islanders, and films made by Hawai`i filmmakers that present Hawai`i in a culturally accurate way. Guam Guam The mission of the Guam International Film Festival is to http://www.guamfilmfestival.org/ International foster the growth of cultural understanding through the Film Festival art of filmmaking. GIFF achieves this through community outreach, education through festival workshops and efforts to build awareness for social responsibility through our film programming. In addition, GIFF aims to provide opportunities for local artists and emerging filmmakers to flourish through exposure to international cinema and industry-related business. Although Pacific Asia is the core of the Guam International Film Festival, it also showcases international movies. FIFO – Pacific 2004/Tahiti France Télévisions Festival goals: http://www.fifo-tahiti.com/ International Nui Polynésie is the • Stage an event for the Tahitian public in February. Documentar organizer of FIFO.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Name Start/Location Organizers Description Website y Film This television • Bring together all film and television professionals in Festival station has the region, and foster the development of joint mandated the FIFO projects and information exchange on current issues. Association, chaired • Highlight the quality of national and international by Wallès Kotra, to productions so as to promote the best ones and make stage the event it easier to market them internationally. (coordination, • Create a market between Pacific documentary partnerships, producers and world documentary buyers. communication, accommodation, The Test from Sukwadi Media in the Solomon Islands was transport, etc.). entered in 2015. Polynesie 1ére continues to promote and publicise the event on the air through clips, special programmes and the RFO television news.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

g) Topic guide, questions and checklist

Participant: Time and date: Location of interview 1. Background information

1a What is the informant’s role in the film sector? I.e. Do they write, direct, produce, work in post-production, etc.?

1b Find out some background information about the interviewee’s organisation: • Are they an employee or owner of a company? o If they own a company, how many employees? o How long has it been in operation? • What type of films do they make? • Where do they make their films?

1c Are they a member of an industry association/group (which)?

2. Knowledge of local filmmaking

2a Who are the key people currently working to produce local films (with a particular focus on telling local stories)?

2b What have been the main local productions since 2010?

3. Challenges and opportunities for local filmmakers

3a What challenges do local filmmakers face in telling their stories on screen?

3b What opportunities are currently provided to support these local filmmakers (funding, incentives, training, festivals, competitions, etc.)?

3c What are the main forms of local storytelling outside the film/TV sector? (probe for types of activities/people involved)

4. Support for local filmmakers

4a What are the key government agencies working to support local filmmaking (and who are the key people in these agencies)?

4b What networks or associations have been established to support local filmmakers?

4c What do you think could be done to support more local filmmaking in your country?

Concluding comments

5 Are there any other important points or issues related to filmmaking in the Pacific region that have not been discussed yet?

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Draft Questions 1. Can you tell me a little bit about your role in filmmaking? How did you get involved?

2. Who are the key people currently working to produce local films (with a particular focus on telling local stories)?

3. In your country, do you think there is a demand for people to tell local stories via film?

4. What do you think can be done to encourage more emerging filmmakers to tell local stories in your country?

5. What challenges do local filmmakers face in telling their stories on screen?

6. What opportunities are currently provided to support these local filmmakers (funding, incentives, training, festivals, competitions, etc.)?

7. What is currently being done by government or other partners to encourage and support local filmmakers?

8. What are the main forms of local story-telling outside the film/TV sector?

9. Do you think more support is needed to develop particular skills in areas, such as technical production, script writing or marketing?

10. What do you think can be done at a regional level to support local storytelling and filmmaking?

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Mapping checklist Are the following resources locally available? How accessible are they? How expensive are they? Resources Quality (examples?) Production expertise (Line producers, production managers, casting agents, 1st assistant directors (Ads), etc. with experience) Training facilities/courses (School courses, Polytech courses, private schools, e.g. local film school?) Experienced performers/actors Experienced script writers Training/courses for performance or creative writing Networks or associations (Formal associations such as a writers guild, actors union, production association, etc.) Camera gear (What formats/quality are available?) Audio gear (What formats/quality are available?) Editing facilities (What formats/quality can be handled) Other post-production facilities Local distribution (Cinemas, TV networks) Local film festivals Local film competitions Marketing support (Government agencies or PR organisations with entertainment experience.) Marketing training Lawyers with entertainment law experience Funding sources (including government, donor and private/corporate sources)

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

h) Broken Wind Chime script – a short film written and directed by Regina Lepping

FADE IN: TITLE: THE BABOO WIND CHIME

3 EXT: KENI’S FAMILY HOME. NIGHT. A black dark glass car speeds up the driveway to Keni’s house. As it parks, we can hear the island music blast inside and it gets louder as the door opens, we see drunk teenagers in the car laughing loudly and tossing empty cans and cigarette butts out the window. Someone steps out of the car and zigzagged to the front door of the house, the car speeds off again. We only see his feet up to knee length. The man opens the door of the house, walks in. There was an angry shout in the house. The man’s thrown outside. FALLING VERTICALLY into view. We now see it is 18 year old Dan Keni. He gets up, yells angrily and walks off, hitting and throwing things out of his way. JEFF KENI (Dan’s dad.) looks out of the window, shakes his head in disappointment and closes the curtains.

4 EXT: ENO’S TREE. LATER. We can only see Dan’s knee length as he walks drunkenly to a big tree in a bush nearby. Suddenly, we hear a wind chime whistle in the wind, attracting Dan towards it. He falls at the root of the tree, now we can see his face. He looks terribly drunk. He drinks some more beer, burps and falls asleep.

5 EXT: MORNING THE NEXT DAY. Dan is still sleeping when the sun shines on his face, we can now see a wind chime on one of the tree’s lower branches swaying in the wind, whistling. Dan didn’t move but he snores loudly. Someone stood in the sun’s way on Dan’s face, poking Dan with a stick. Dan wakes up, (DAN’S POV) blurry, A little 9 year old boy with curly, frizzy long hair stands between Dan and the bright sun. It is Eno Francis, Dan sits up straight but dizzily. DAN. (lazily) Mi lo wea ya? ENO.

slowly it came to FOCUS.( Dan opens his eyes to see Eno staring at his face in a close distance) DAN. Jesus! gah Iu no duim kaen ya. ENO. Sorre,

Dan laughs, Eno didn’t laugh, stares at him. Dan checks for any leftover in the beer cans. He throws the can carelessly around and looks at Eno. DAN. Ui luk strong fo wat ya? (Eno didn’t answer)

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

Eno bends down and collected the cans and throw it in his bag rice. The boy then took one of Dan’s empty beer cans and plants it in the earth, waters it and looks at it admiringly. DAN. (CONT’D) (stares at the boy confusingly) wat na iu duim ya? The boy kept quiet. Dan gets up, picks up his things, went behind the tree. Eno looks angry at the sound of Dan urinating behind the tree. ENO. Seeehh!, (he stood up) garden blo mi ya, ui no pee inside! DAN. (we can only see the tree as Dan responds from behind it.) garden? Haha…Mi no lukim any flower, bush nomoa ya. ENO. (Interjects) A garden no need for garem flower nomoa. DAN. Oh yeah? Olsem wat na garden sa garem? ENO. Nature nomoa wetem peace. DAN. Ya, (laughs) wetem staka peeees!! (laughs even harder) ohh, smol boy ae, wanfala funny pikinini na iu ya, no worry, ba mi no kam back lo ‘heaven’ blo iu. ENO: name blo mi Eno, (Dan nods) who na nem blo iu? Dan kept nodding and walks off, clearly he’s terribly hangover. ENO. ba iu talem mi nem blo iu taem u kam back na? DAN. mi talem iu finis, ba mi no kam back ya. Dan walks off lazily. Eno bents down and plants a seed beside the planted beer can. . The camera zoomed in on the planted beer can that TURNS INTO: REAL BEER CANS… Dan presses against his lips, he gulps down the alcohol hurriedly as his friends cheered….

INT: MR KENI’S CAR. AFTERNOON. We can see Dan is sitting in the driver’s seat and four other people are in the car with him. We can hear the music is too loud as they are making a lot of noise, Dan turns up the music and sings along to the song. Friend 1. Guys! Police na kam ya! Suddenly all of them scurried out of the vehicle but Dan keeps on singing loudly, we can see that he didn’t notice all his friends had disappeared, a police officer approaches the Vehicle and flashes a flashlight at his face. Now we can see the officer gets Dan’s attention. He turns the music down and smiles at the officer.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

DAN. Hallo constable, anything wrong? mifala singsing karange nomoa ya. POLICE OFFICER. Oh ya? Iufala who? Dan points to his side and looks around but all his drinking friends were gone, he just smiles back guiltily at the officer.

EXT: OUTSIDE THE POLICE STATION. EVENING. Dan is sitting in the front seat with his arms fold and looking straight ahead. The driver’s seat is empty and the door is open, we can hear Mr Jeff Keni talking to someone.

MR JEFF KENI. (V.O) Im sorry sergeant, you know, kids these days just wouldn’t listen anymore, I will make sure he doesn’t do that again. Have a nice day officer. Mr Jeff Keni gets into the vehicle shuts the door starts the engine while giving an angry look at Dan who keeps looking out his side window avoiding his father’s eyes.

IN MR KENI’S VEHICLE. LATER. They park outside the house. Dan keeps looking out the window. MR JEFF KENI. (angrily) Next time ba mi no outim iu olsem ya, iu no laek go lo school, iu no laek waka, iu luk afterem iu seleva. (points index finger at Dan’s face.) LOOK AT ME WHEN I’M TALKING TO YOU! (Dan looks at him, quietly) Iu kam back haus smell beer moa, Iu no forget, Iu sleep outside wetem ota dog. Iu herem mi? (Dan didn’t respond.) MR JEFF KENI. (CONT’D) Mi say, iu Herem mi!? DAN. Yes. Dan gets out of the car breathes heavily and looks at his father as he stomps off. Dan sighs turns around, stares into the distance and walks off.

EXT. ENO’S GARDEN. LATER. Dan walks to the tree and sits under it. There is no one else there. He looks at the beautiful bamboo wind chime that hangs on a branch, He closes his eyes; listening to the whistling of the bamboo wind chime, smiling enjoying the serenity of the garden, finally looking relaxed…CAMERA ZOOM OUT to reveal Eno sitting beside him, staring at him. He sees Eno and jerks. DAN. (Dan gives a long sigh) Eh, iu moa ya? ENO. What na u duim ya? DAN. try for findem peace blo mi but iu disturbem mi ya smoll boy.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

ENO. Nem blo mi Eno ba. And since iu kam back- DAN. (Dan interjects as he stood up quickly and faces Eno) Nem blo mi Dan, thank you for disturbim mi Eno, bye bye. ENO. (interjects) if iu kam back lo here tomorrow ba iu plantem flower wetem mi? DAN. O.K wateva! ENO. Or sapos nomoa- DAN Iu leavem mi nomoa man! Who na laek fren blo iu ya!? Karange pikinini! Dan gets up and leave. (Eno’s smilling face fades to a sad Shocking look). He watches as Eno leaves and turns back to his plants patting the soil at its roots.

13. EXT. TOWN. EVENING. Dan stroll aimlessly in the town, sat at a street corner and started drinking again. He finished his can beer and throw it. he wasn’t that too drunk. He got up felt in his pocket and pulled out nothing, then he walk lazily back home

14. EXT. KENI’S PLACE. LATER. He walks back to his house, now we can only see his feet up to his knee as he walks to the front door of the house, pauses turns back around, then he walks over to the shed pulls out a long rope and carries it with him out the yard.

15. EXT. ENO’S GARDEN. NIGHT. THE CAMERA PANS with Dan as we can still, only see him in knee length. He climbs the tree out of our view, we can hear the branch moving and the wind Chime whistle. We hear him sob loudly. DAN.(V.O). (Sadly,) Sorre na Daddy. We can only see his leg hanging midair and a sound of Dan chocking and gasping for air. He wriggles fiercely as the bamboo wind chime on the branch shook wildly, making a lot of noise. Suddenly, the branch breaks. Dan falls. We can now see his face. He coughs as he gasps for air, loosening the noose around his neck furiously. He forces himself to sit up against the tree with one arm. He cries silently with his face buried in his hands as he realizes what he just did. The broken branch lay beside him, along with it, the bamboo wind chime, broken.

16. EXT.ENO’S GARDEN. EARLY MORNING. We hear birds singing as the morning sun light shines on Dan’s face. Dan snores. Eno stands in front of Dan, he wakes up and sees Eno. Eno looks at the noose still around his neck. Dan notices it.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

DAN. Mi try fo killim mi seleva last night Eno nods and walks over to the broken branch, he picks up his broken bamboo wind chime.) Oh…yeah, sorre about dat wan. ENO. (Expressionless) lucky na branch ya breke, mi no laek fo mi na findm die man lo here. iu rest, tym iu feel gud then iumi plant flower. After, iu sa go killem iu seleva if iu still laek (Eno climbs up the tree with his wind chime and hangs the broken pieces way up high. He remains expressionless. Dan stares at him confusingly and regretfully for breaking the wind chime.)

17. EXT. ENO’S GARDEN. LATE AFTERNOON. Eno is watering his plants when Dan shows up. Slackly. DAN. (sighs) so wea na ota flower ya?

Eno looks at him with joy and points to a bunch of flower cuttings under the tree. Dan plants the little flowers as Eno instructs him how and where to plant. Dan works on tolerantly. (TIME TRANSITION)- Dan planting flowers, Eno waters the plants,

18.EXT. NEIGHBOUR’S HOUSE. LATER. (TIME TRANSITION)- Dan bought 2 ice blocks and gives one to Eno.

19. EXT. ENO’S GARDEN. (TIME TRANSITION)- we now see them rests under the tree. just sitting quietly staring one place for some time, no wind chime whistling anymore. until Eno breaks the silence. ENO. Thank you for helpem mi. DAN. Whatever. ENO. Iu olsem olowe na ya? Iu less tumas lo life? DAN. (laughs) Mi olsem, tym mi start fo less lo life. ENO. ma wat tym na iu start fo less lo life blo iu? DAN. (look Eno in the eye.) Iu bara laek save? Tym someone mi lovem hem go from me and mi no save why. Life RABIS nomoa ya Eno! Hem olsem everything hem no garem meaning nomoa! No anything gud, no anything for happy lo hem nomoa. True something na olsem…God hem nomoa lo here ya! Hem no herem iumi tu becos everyone tok tok sem tym tu aboutim ota samting wea no mek sense nomoa. He takes a deep breath and lets it out heavily putting his hands on his hips. Olsem wat mi talem iu distym ya.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

(he shook his head and looks away,) Iu no meanim wat mi talem yaba?

Eno didn’t reply, he bends down feeling the grass under his legs. There is a strange long pause, no sound, no wind…both of them notices and looks around uncomfortably. Suddenly, we can hear something whistles beautifully in the wind, somewhere up in the tree. The wind begins to blow softly, Eno and Dan looks at each other, and up to the tree together. DAN (CONT’D). Mi tinges windchime ya breke. (Confusingly.) Iu fixim? ENO. (still looking up, now he’s smiling.) Nomoa, (pause) mummy blo mi na givem mi before hem die. Hem talem mi for putim lo wind, fo tym hem whistle, ba mi save that hem lo here wetem me. . Eno stands, and climbs the tree way up to the top. Dan looks worried; he didn’t want Eno to fall. DAN. (Worryingly) eh iu go where ya? Hey Eno! dat wan high tumas na ya! Come, come down. ENO. Come up’ (waves at Dan to follow him.) come up! DAN. (Stammers) uh.mi …mi hat. ENO. Come up! Mi laek showm u something! DAN. mi say mi hat fo kam up! ENO. (impatiently) Why?! DAN. (Interjects) becos hem high tumas!? ENO. (looks down to Dan in wonder) ma, iu no fright fo killem iu seleva but iu fright for kam up becos hem high tumas…(Sits on a branch looks confused) DAN.(shook his head) Iu die lo mi ya smoll boy! (Eno smiles)

We see Dan takes off his shoes unwillingly and take a deep breathe.

20. EXT. UP THE TREE. We follow Dan as he climbs the tree, grumbling and convincing himself that he can do it. He didn’t want Eno to think he is a chicken. Dan’s knees and hands were trembling and sweating like crazy, but he forces his way up to where Eno is. He wraps himself tightly to the branch next to Eno and wipes his forehead with his free hand. Eno stares at him and grins. DAN. (Dan interjects.) Iu no talem eniwan. (points at Eno) Iu no laf tu.

Cinema Pasifika − Developing the narrative film and television sector in the Pacific Island region

ENO. (He chuckles,) Iu ready na? (Dan nods nervously) Now look around you. Dan looks around. Stunned by the beautiful scenery. We see the trees and hills in the distance looks like a painting brought to life, the houses down in the valley looks so small like blocks of toys. We can also see the clouds casting shadows on the roof of the houses. The wind blows as the tree moves along with it like a ship sailing on calm waters. While the Broken bamboo wind chime whistles. ENO. Life hem hard fo mi tu and stake rabis samting na happen. (he stands up on a branch and reaches out one hand and fiddling the wind between his fingers, Then he lets the wind on his face as he closes his eyes, Dan stares at him in wonder). ENO. (CONT’D) But tym mi kam up lo here, mi feel free and happy. Dis tym, mi hapi go moa, mi feel osem winner, becos mi lo here yet. So, hem garem meaning tu ya (looks at Dan) yaba? DAN. (Dan smiles) Iu bara wanfala real winner ya Eno. Mum blo happy lo i utu ya. (points to the wind chime) But mi think iu lelebet karange ya. ENO. Hey, iu bara karange fo climb up kam lo here! They look at each other and giggle. Dan stands up on a branch next to Eno and reaches his left hand out to the sky while his right hand holds on tightly to the branch, just like Eno. They both shout loudly and listen to the echoes of their voices rings in the distance, we zoom out to see only the tree but we can still hear their voices. And the whistling of the broken wind chime. DAN. So why na iu plantem empty beer can ba? ENO. oh, mi plantem nomoa.

DAN. Oh ya? Becos mi tingim someone hem talem garden no need fo garem ota flower.

21. SHOT: Further out, probably on another hill facing the tree, but we can still hear their voices talking and laughing at each other, and we can also hear the broken bamboo wind chime Whistling in the wind even louder than their voices as the sun sets slowly behind the hills. FADE OUT. (THE END.)

SCRIPT AND STORY BY: REGINA LEPPING.

NOTES:

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