Retrospective I March 17 Media Release
24 April Awards Release
The 2004 WIFT International New Zealand Summit
By Helen Martin
The 2004 WIFT International New Zealand Summit attracted WIFTI members from many countries, although surprisingly there were fewer local attendees than expected. I attended as a brand new member of the Auckland Executive (by the time I joined all the Summit work was done), confident, because of my experience of other WIFT events, that the Summit would be stimulating and well-run, but curious too, given that most of the planning and organization had been done by just three people, Exec members Fiona Milburn (the current WIFT New Zealand representative to the international WIFTI board, WIFT Auckland chair and Summit Convenor) Suzy Cato (WIFT Auckland Board Liaison) and Andrea Bruce (WIFT Auckland vice-chair), with invaluable assistance from Linda McFetridge (WIFT Administrator), The Conference Company (in particular Jan Tonkin and Fiona Driver), and publicist Sue May, to see how it stacked up as an international event.
The verdict: on all fronts the Summit was fantastic, with the stimulating and comprehensive programme complemented by plenty of opportunities for networking, both formal and informal. (Word has it there was a large upward blip in our national wine consumption stats in Summit week). So, huge thanks and congratulations to the organisers – you’re amazing.
So, what ideas emerged from the conversations? As someone whose work involves writing and teaching about film and television rather than making it, I was interested to see that while the Summit canvassed the same territory as acadaemia – issues around globalisation, audience, indigeneity, new technologies, funding, story content – discussions were based, not on research or theory, but on personal experience and opinion. It was fascinating to hear and be part of these heartfelt exchanges.
In spite of our growing sense that we are integral to the international community, New Zealanders still have some way to go in convincing the rest of the world that this is so. (American stand-up comic Greg Proops, for example, made much of our isolation on his recent visit, positioning us as an aberrant ‘Other’ bearing little relation to ‘The Rest of the World’, to great comic effect). So, a huge benefit of hosting the Summit was that, for that brief but significant time, the spotlight shone brightly on us. Taking maximum advantage of this, the Summit organisers provided screenings (Whale Rider, Perfect Strangers) and panel discussions that facilitated celebration of and information sharing about recent successes. Meanwhile, down at the business end, representatives of government agencies like NZFC and Investment NZ and of private companies like SPP and Touchdown, shed light on the film and television industries’ prominence in our global positioning as a nation. According to Dame Cheryll Sotheran, Sector Director Creative Industries, New Zealand Trade and Enterprise, "We’re on the cusp of a transformation in how people see New Zealand, (changing) from mountains and sheep to an economy with a wide-reaching global profile based on ideas and talent, creativity and innovation." At the Women as Leaders Luncheon on the final day, Prime Minister Helen Clark reinforced the idea that our film and television productions "affirm and assist who we are", endorsing the value of Maori Television, the Charter and recent local films in realising this project.
Of course, any such discussion could become glib and self-congratulatory, were it not for the steadying voices of the filmmakers themselves. From the Social Responsibility in Story Telling panel Gaylene Preston, in a discussion about Rogernomics and the New Right, reminded us of the need to challenge the Orwellian language of politicians and of the fact that we have the shortest commercial television hour in the world. Also getting down to hard facts was the strand of sessions addressing issues involved in ‘Doing Business’. Illustrative of the challenges independent filmmakers face in finding funding and screening opportunities for their work, speakers at the Indigenous Filmmakers session described the difficulties of running a sustainable business in an indigenous environment. Rhonda Kite talked about the demand to make work with ’a universal premise delivered in a culturally specific package." Kathryn Akuhata-Brown told with a degree of self irony of how, having spoken publicly against Whale Rider as an example of how Maori were not given the opportunity to tell their own stories, she is now collaborating on a project with an Afghani. Aboriginal filmmaker and scholar Romaine Moreton talked movingly about the importance of film as a tool for preserving a culture, asserting that "through indigenous filmmaking Australia will locate itself in its local context."
A highlight of the WIFTI sessions, programmed to enable members and prospective members to ‘examine the nuts and bolts of setting up and running a WIFT Chapter’, was the Diversity Forum.
Auckland WIFT member Frances Edmond describes the forum:
"This forum explored the current status of gender and ethnicity through the experience of panellists Pratibha Parmar, Claudette Hauiti, Maxi Cohen, Darlene Johnson and Athina Tsoulis. There was a consensus that while progress had indeed been made in diversifying women’s working roles in the industry, both in terms of gender and to a lesser extent ethnicity, there are still few women heads of department or directors and women are still dominant in the ‘service’ areas of the industry. As well, we are still marginalised in terms of access to funding and resources and the monolithic nature of ‘dominant’ culture means it remains difficult to present an alternative ethnic viewpoint.
Pratibha gave us an insight into the process of change for ethnic filmmakers in England, explaining that the establishment of black networks had effectively put pressure on the mainstream media and, as a result, over a period of time opportunities had slowly opened up for ethnic filmmakers. The issue of whether or not legislation could effect change was also discussed as a necessary stage early in the process which could help effect change.
All the panellists spoke with feeling and understanding of the many obstacles presented by ethnicity and gender and of the absolute necessity of not being defeated by them."
The Birds of a Feather sessions offered opportunities for informal networking. Delegate Ruth Zanker reports below on the Children’s Television session.
"A small and enthusiastic group met for the children’s session. The session was ably chaired by Suzy Cato, much loved as early childhood programme presenter, and later presenter and producer of innovative science content for kiwi kids. There were representatives from a wide span of children’s media sectors and interests.
- Shine television, a small local Christian channel currently building non-violent values-based content for children.
-Linda Kahn, one of the top global children’s media marketing strategists from Scholastic. She described her mission as providing a ‘full learning experience’ for children across media platforms
- Dayle Spavins, producer of the newly extended Saturday morning Squirt in Dunedin
- Nicole Hoey, from Cinco Cine Films which concentrates on Maori language programming for young people
- as well as a few craft experts (animation, editing, the inventor of a wonderful helium balloon lighting kit and researchers/teachers.
Nicole Hoey shared the challenges she faces in making immersion Maori programming for children emerging as fluent Maori language speakers from Kohanga Reo and Kura Kaupapa Maori and even Wharekura. She described the initiative which provides Maori voice-overs to imported animations (she is subcontracting a team of young school leavers to capture the right edge for young children). She also talked of a drama initiative scripted around alternate ‘consequences’ which viewers would choose through txting. She pointed out that Te Mangai Paho are the second largest funder of local programmes and that the cost per programme is set at a daunting $40,000 dollars an hour, which seriously concentrates the mind of any producer. One initiative to be cheered is the way the Education Department is supporting the development of entertainment related websites. Anything that breaks down the silos helps kids.
Nicole talked in particular about production challenges faced on Pukana, the award winning rangitahi-targeted programme on TV3. Pukana, it can be said, is at the cutting edge of Maori language revival. Not only are the presenters young Maori-speakers but they talk, as role models, to kids with a range of proficiency throughout the country. One of the most successful elements is the weekly video-clip for a new song. A daunting aspect for production is the job of evolving new Maori words. This is done with the help of the Maori language consultant attached to the programme. As in France, a decision has been made to keep Te Reo pure, rather than introducing English elements. This has its challenges for pre-production because any visit to the surf, bungy-jumping, skate-boarding, or a concert involves preparing a raft of new Maori terms (or reintroducing old colloquialisms into currency). These have to be learnt by the young presenters in a way that makes sense to the audience! Sounds like they work hard!
There was brief discussion about Japanese action animations in light of the violence research report conclusions and another brief discussion of the merits of the TVNZ Disney club initiative on TV2. Disappointment was expressed that it was a strict format that followed a Disney rule book rather than include elements of local culture. Someone asked, ‘How can kids be shifted from a view that ‘if it’s good its made overseas’ to local pride in culture?’ In a telling anecdote Suzy Cato recalled a young fan who asked her, "When are you going to come and see me in New Zealand?"
The session concluded with seasoned producers providing contacts and tips to those less experienced in the pitching process."
Children’s television also featured in the Future Focus stream and while I didn’t feel that any of the speakers satisfactorily addressed the question, "Do we train our future audiences or do they train us?" the material presented was interesting and provocative. To the forefront was the notion that interactivity, "having conversations with the programme", is the key to the future in children’s television. While Ian Taylor demonstrated some of the ways in which this is currently used (eg with the viewers determining the content live), Linda Kahn talked of "the need to make deep and meaningful connections with kids." In her view kids are "platform agnostic", and the challenge beyond securing their eyeballs but rather to create age-appropriate content.
At a session titled Selling Ideas: The Art of the Pitch, five delegates were given the opportunity to pitch their ideas to a panel at of representatives from TV3, TVNZ, and independent producers. Mareena Facoory reports on this session -
"Panel facilitator W Paterson Ferns, President Emeritus Banff Television Foundation Canada described the responses he received when he asked a producer, a distributor and a broadcaster/commissioning editor, "What is the perfect pitch?" The producer was interested in a passionate marriage of quality, uniqueness, originality, and distinctiveness. The distributor agreed with this creative content but wanted a person who could deliver the quality of the idea (i.e. with a track record). If the pitcher did not have a proven track record, the distributor urged that they associate with an executive producer to give credibility to their concept. The broadcaster agreed with the need for creative content plus track record and also wanted someone who had researched the broadcaster’s needs.
Pat described the Banff Simulation Model, where independent pitchers sell their idea to a panel of executives/decision makers, as a collaborative event which can turn good ideas into great productions.
Winners of the pitch were Felicity Williams and Sue Wolfenden of Papageno Productions with their children's show (26 x 11 min eps) Where's My Cuddly?
Sessions addressing the future were strong on information about new technologies and their potential for use – in production, distribution and exhibition – with strong emphasis given to ways of profiting from them (‘revenue spinning’). Interestingly, most of the gizmos described as the gear of ‘the future’ are actually here now. Ian Taylor’s suitcase of tiny gadgets got us going (he says he’s techno-illiterate, but no-one believes him), while Jemima Gibbons’s talk on content of the future, focusing on developments in Britain, was an eye-opener in terms of how far British audiences have come in terms of ‘making their own content’.
In between talk fests I managed to catch a couple of brilliant documentaries, both of which made me wish I could have been in two places at once for the whole Summit. The aftermath of watching To Kvinder Pa En Flod (Two Women on a River) was sobering. When the filmmaker, Iben Andersen, asked me if I would be able to get it screened on New Zealand TV, I had to explain to her that there was no way that would happen – the documentary is too good.
A selection of gems:
Dame Cheryll Sotheran: "Stay on the side of the solution, not of the problem. Always stay with the positive."
Ian Taylor: "Technology is nothing more than a tool."
Catherine Wyler: "Technology is the dog which enables the artistic innovation. Form is the tail."
Gaylene Preston: "I do my own work, in my own way, in my own land."
Di Rowan: "Witi told Nikki if he’d known she was going to do such a good script he would have let her write the short story."
Merata Mita: "The more Michael King learned about Maori culture, the more monocultural he became."
Sue Dunderdale: "Programme makers need to make programmes they have to make and they will find an audience."
Philippa Boyens (on theories of psychoanalysis): "Pete says he’s just making a movie about a big gorilla."
"Kong fans are scarier than Tolkien fans."
Merata Mita: "We’re all together in this waka trying to forge a nation and each of us needs a paddle. I hope my work adds to the journey."
Cocktail party-goer (overheard): "It’s great to observe other women and take it on board and learn from it."
Woman in audience, Indigenous Filmmakers session: "This is the place to be to transform the planet, to reconnect to a vision about what’s needed on the world. How do we define ourselves? We’re packaged as a genre with a specific cultural outcome. Outside supply and demand, films are needed to heal communities. It’s not about the money. I love you and expect you to do better."
The 2004 WIFT International New Zealand Summit was presented in association with strategic partners Investment New Zealand and the New Zealand Film Commission. Contributing partners are NZ on Air and Film New Zealand, sponsors and supporters include: Millennium Copthorne, Kingsgate Hotels & Resorts, Film Auckland, Auckland City, Tourism New Zealand, Air New Zealand, South Pacific Pictures, Plan & Print, TVNZ, Kodak New Zealand, and Village SKYCITY Cinemas.
WIFTI Awards
Sue May
A number of awards honouring women who are key players in film and television were presented at the Summit’s Women as Leaders Luncheon.
The WIFTI award for international achievement in film was awarded to Fran Walsh, in recognition of her work in many roles - writer, producer, composer, 2nd unit director - of the multiple Academy Award, BAFTA Award winning (and winner of many other international film awards) The Lord of the Rings trilogy.
The WIFTI award for international achievement in television was awarded to Touchdown Productions founder, managing director and creative force, Julie Christie, in recognition of her success in devising and selling television programmes and formats internationally.
The WIFTI "Woman to Watch" award went to Whale Rider director/writer Niki Caro. This successful recipient is defined by WIFTI as "a woman who, while perhaps well known professionally in her own country, is just beginning to forge an international reputation in the film and/or television industries. She exemplifies the spirit of Women In Film and Television International by her dedication to professionalism and the pursuit of excellence, and as such, she sets an example for women aspiring to success worldwide."
The first WIFT New Zealand award for outstanding achievement was given to costume designer Ngila Dickson, in recognition of her Academy Award winning work for The Lord of the Rings: Return of the King and the nomination for The Last Samurai.
WIFT New Zealand emerging producer awards were won by Leanne Saunders and Ainsley Gardiner in recognition of their body of work to date and in support of their recent moves into producing feature films.
Further international recognition of New Zealand’s leading role in the global screen industry was the election of Fiona Milburn as president of WIFT International (WIFTI).
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