Mike Preece




НазваниеMike Preece
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Edwin Petersen



I am a typical, struggling filmmaker. I have looked at the NZFC site for possible areas of funding that I could apply for. Without a experienced producer or an experienced director attached to the project, there is nothing to apply for. This makes it hard for first time directors to get funding or even recognised. I love the first writers competition. This gives script writers the chance to make a name and get seen. I would love to see opportunities for first time directors. More training workshops available to filmmakers, and more competitions to help discover talent.  I have seen that in America they have the great pitch fest. Where representatives from the film studios, television studios and production companies sit down and listen to writers and filmmakers pitch their film scripts and ideas. The studios get first chance at stories they might want to buy or produce and the filmmakers and script writers get heard. It’s win, win.

 I also thought a competition for film trailers might be a good way to get a taste of a film. An annual competition, hosted by NZFC with prize sponsors, that people could send trailers of their films with the winners being considered for further development by NZFC. Even if there was a mentoring program in place during the development to make sure the quality is of a high standard. I thank you for your time and look forward to all the progress that you are going to make for all film makers in New Zealand.


Cheers Eddie

Andy Calder



Dear Peter Jackson et al,


Apologies for the delay replying.


Try getting the NZFC crew to read an interview with John Maynard published 1990 in "Planet" magazine. Then check-out http://en.wikipedia.org/wiki/Deschooling_Society.


Best regards,

Andy Calder

Pita Turei, Nga Aho Whakaari




Nga Mihi kia korua. Ko tenei taku korero mo tenei kaupapa.


We welcome this review for the opportunity it represents to put right inconsistencies in the original act and regard for Te Tiriti O Waitangi and the principles developed by the Government and its agencies.


This submission requests that the Act be reviewed in a manner that properly reflect the partnership between Maori and the Crown and empowers ‘kaitiakitanga‘ custodianship of our ‘ cultural capital ‘ and parity of resource and opportunity for Maori to tell Maori stories.


This submission further requests that the terms of reference for the review recognise the importance of Maori cultural capital in the successful functioning of the Film Commission in achieving its goals.


Nga Aho Whakaari acknowledges the New Zealand Film Commission in the support it has extended to Maori story tellers, film makers and practitioners as well as Nga Aho Whakaari.


Further Nga Aho Whakaari acknowledges the role the New Zealand Film Commission has played in supporting forums that have advanced the development of an articulate community of Maori Film Practitioners.


We do however note that in the terms of reference for the review we do not have a specific role or a specific reference regarding the use, exploitation and maintenance of our unique cultural capital and therefore request an opportunity to participate in the review as an organisation on behalf of our members and the film making community as a whole.


Naku na Pita Turei

Executive Director


1 Figures from Geoff Lealand (2009), Media Studies in New Zealand Schools and Universities: A Research Study, University of Waikato: Screen and Media Studies. Copy available on request from

1 Fourth Cinema is a term coined by Maori film-maker, theorist and writer Barry Barclay.  He distinguishes Indigenous cinema from first, second and third cinemas, respectively Hollywood, arthouse and third world cinema.  Fourth Cinema raises questions of politics, history and education in societies of second settlement. The word 'indigenous' refers to the intersubjective relation of first peoples and second settlers, who have invaded, occupied and largely appropriated the lands of local peoples, and subjected them to a second law. A history broken by the coming of strangers, and interrogated in the terms of those before them, makes Fourth Cinema an affirmation of first peoples.

Dr Stephen Turner

Senior Lecturer,
PhD Advisor English


1 Anna Cahill “All that glitters is not gold”, Take, Autumn 2009

1 Alice Neville, Nicola Shepheard, “Jackson gets stuck in to the Film Commission,” NZ Herald, 28 June2009

2 3 David Cullwick, “NZFC’s response to John Barnett’s criticisms,” Onfilm, November 2008

1 Prior to establishing Tim Thorpe Consulting, Tim was Executive Director, NZ Screen Council and before this Senior Analyst, Ministry of Economic Development where he led the policy process that developed the Large Budget Screen Production Grant (LBSPG) and worked alongside the Screen Production Taskforce. Tim also wrote the first draft of the criteria for the Screen Production Incentive Fund (SPIF) in 2008 under contract to the Ministry for Culture and Heritage.


1 Film South representing Canterbury and West Coast closed its doors in 30 June 2009.


1 Screen Industry Survey: 2007/08. Hot Off The Press, Statistics New Zealand


2 3 Film NZ Networking Function http://www.beehive.govt.nz/speech/speech+film+nz+networking+function


1 The total of 20 grant recipients includes 2 productions that received grants under the PDV incentive; as this number is too small to provide cumulative data analysis. The employment figures are therefore based on 16 recipients of the LBSP grant, with two other recipients not yet completing exit surveys.


2 Incentives are available in summary form in the following Asian languages: Korean, Japanese, Traditional Chinese and Simplified Chinese.


1 The SPIF Asian language translations were provided on a cost-sharing basis with Film Auckland.


1 To date, Film NZ’s resources have not accommodated representation at these, though Investment NZ has attended

Berlin and Toronto.


1 The prospect of a 40% incentive has also increased inquiries about official co-production criteria from the USA despite the fact that there are no US co-production treaties.


1 Agreement in principle has been reached with the Royal New Zealand Navy for an MOU on filming on naval locations, including Devonport Base in Auckland. This represents a first step in extending this arrangement to other branches of Defence being the Army and Air Force.


1 Australia has ended any confusion with the creation last year of Screen Australia absorbing the AFC. Ausfilm remains its national film commission/office.


2 Neither Film Volcanic nor Film Dunedin has become AFCI members; Film South was a member.


3 Published by Film NZ biannually with project funding from Investment NZ, the award-winning Guide now available in its 3rd edition is the prestige marketing tool on New Zealand locations, capability and infrastructure as a screen production destination.


1 Extract from speech given by Robin Laing at the Film NZ Industry Networking event for Minister Gerry Brownlee held at Park Road Post Production in May 2009. http://filmnz.com/minister-for-economic-development-meets-the-screen-industryat-

film-nz-networking-function.html


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