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The following individuals/organisations provided comments to the review team.
Mike Preece 3
Neil Cervin 5
Angela Parker 7
Bruce Hopkins 8
Amit Tripuraneni, Unkreative Artists Ltd 9
Kelly Kilgour 13
Geoff Lealand, Screen and Media Studies, University of Waikato 14
Maggie Tarver 16
Jon Povey 18
Peter Parnham 19
Waka Attewell 21
Tim Coddington, Nukuhau Production Services Ltd 27
Name withheld 31
Graham Dunster 34
Steven Gannaway, NZ Writers Guild 36
Kevin Jennings, Film Queenstown – Film Otago Southland 49
Frances Walsh, NZ Equity 50
Norman Elder, Independent and General Productions 60
Paul A. Barlow, Chairman, Film Waikato 62
Brent Chambers, Creative Digital Content Auckland 64
Jodi Smith and Arvid Eriksson 67
Annamarie Jagose, Film, Television and Media Studies, University of Auckland 69
Alex Lee, The Documentary NZ Trust 74
John Davies, Arkles Entertainment Ltd 86
Dorthe Scheffmann 93
Simon Marler, Script to Screen 96
Louise Leitch, Picture the Difference 100
Ant Timpson and Leanne Saunders 103
Alex Cole-Baker, Chocolate Fish Pictures Ltd 111
Alexander Behse, Monsoon Pictures International Ltd. 113
Film Auckland 115
Costa Botes 121
Geoff Houtman 125
Tim Groves and Lee-Jane Bennion-Nixon, School of English, Film, Theatre and Media Studies, Victoria University 126
Lara Northcroft, Film Central North Island Trust 128
NZ Film & Video Technicians Guild 130
Laurence Greig, NZ Institute of Screen Innovation Ltd 132
Paul Davis 147
Tim Thorpe Consulting Ltd 158
Clive Neeson 163
Anna Cahill, Screen Directors Guild of NZ 164
Emma Blomkamp 174
Josh Samuels 178
Judith McCann, Film NZ 180
Catherine Fitzgerald, WIFT NZ 196
Edwin Petersen 200
Andy Calder 201
Pita Turei, Nga Aho Whakaari 202
As a former senior executive of Hollywood giants like Fox, PolyGram and Universal Pictures I have considerable and proven experience in the business of film and video (DVD). I would emphasise that my background centres on the MOST lucrative of filmed entertainment exploitation with the International sales, marketing, licensing and distribution of programming for home entertainment.
The film industry has doubled in size over the last 8 years to an annual gross in sales of US$65bn of which roughly 55% is returned to the studios. Over this period, three quarters of the average annual 10% revenue growth was attributed to sales of DVD.
Theatrical (cinema) revenues only account for about 25% of total film-industry revenues, with video (including DVD) taking about 40%; television accounting for 28% and ancillary revenues the final 7%.
DVD growth contributed 137% of MGM's overall revenue growth from 1999-2004, with DVDs growing an average 60% annually, offsetting VHS declines of 20% and positioning home entertainment to comprise 64% of MGM's overall revenue.
At Universal, home entertainment came to contribute 81% of the studio's average annual revenue growth by 2003, generating about $1 billion in revenue and more than $600 million in profits for an incremental margin of 63%. This was the business I was involved with establishing on a global basis. I enclose a ‘biography’ to elucidate and cannot emphasise enough how my career was based on the sharp-end of commercial exploitation of an ‘end product’ and not the creative miasma of production.
With this focus in mind, I have noted with interest how Screen Australia has been established to condense fractured, State led, film organisations (that were cannibalising a single ‘Film Australia’ message and competing with each other for the Federal buck) into a more strategic business unit for the benefit of the Industry as a whole. I am sure you will have seen Australia’s Governmental mandate of “expectation” for Screen Australia but here is a link just in case:- http://www.screenaustralia.gov.au/about_us/about_us_documents/SoE.pdf
You will note that the expectation for Screen Australia is to become far more pro-active with the commercialisation of generating revenue from film and in promoting Australia both internationally and domestically, as a Country where producers, distributors and film financiers will be nurtured and their labours incentivised via a co-ordinated and profit-led industry interface.
I wouldn’t say New Zealand had quite the same issues as Australia, despite awkwardly created franchises like the now defunct Screen Council but it has been my experience to note how the N.Z. Film Commission seemed to operate under the auspices of a “member’s club” where the delivery of commercial focus has seemed tantamount to a distasteful parasite gnawing away at the core of cultural creativity.
I note with interest National’s policy for arts, culture and heritage Paragraph 4. ‘Update the Film Commission Act and reform the commission’. Following a change of government and the coincidental departure of current CEO Ruth Hartley, it would appear to be a perfect time to review the film commission’s position as the voice of New Zealand for the generation and sustainability of a globally recognised film industry and set about ‘raising the bar’ in terms of International promotion of NZ as a creative hub and the sales, marketing and distribution of New Zealand’s repertoire to a global audience.
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