“The best family film since Babe”
David Stratton Australian Film Critic
Join Script to Screen for a special screening of the Australian box office hit film Runt, followed by a conversation with Director John Sheedy and STS Executive Director Dale Corlett.
This is a family friendly movie and for less than the cost of a coffee each, we encourage you to bring your family to the screening and Q&A.
Hear about John’s journey from theatre into feature film directing including the unique journey this film took from book to screen, and see if it’s true why they say “never to work with children or Animals” or in this case Dogs.
Monday 3rd March 2024
6:30 pm – 8:00 pm FILM
8:00 pm – 8:30 pm – Q&A
The Capitol Cinema, 610 Dominion Road, Balmoral, Auckland 1041
Following the screening and conversation, there will be time for networking.
$5.75 (incl. GST) for sales via Humanitix to secure your seat.
ABOUT OUR PANEL
SPEAKER: John Sheedy – Director
John Sheedy is a multi-award winning Australian film, television, theatre director and writer.
His first feature film, H is for Happiness for Cyan Films, Universal Pictures Australia and Level K, premiered at the 2019 Melbourne International Film Festival, and won the prestigious Film Prize at Cinefest Oz. The film’s international premiere was at the Berlin International Film Festival in 2020 and it went on to receive a Special Mention by the Children’s Jury in the Generation Kplus section. John’s first short film Mrs McCutcheon won best Australian Short Film at the Melbourne International Film Festival 2017 and was invited to over 130 Festivals globally, winning 47 festival awards on the way through. He also received the award for Best Director at the 2018 Australian Directors Guild Awards.Most recently, John was set up director on the ABC drama series In Our Blood and Paramount Plus’s new teen drama series More Than This. He also directed a short film called Tarneit which is currently screening all over the world and has so far picked up 15 wins, including the prestigious IRIS Award in Wales and has received several nominations. John is currently attached as writer and director for the Screen Australia Funded feature 10 Moments, produced by Big and Little Pictures. John directed the new feature film Runt based on the Craig Silvey novel of the same name for See Pictures. Since it’s release Runt has become the third biggest local film of the year.
MODERATOR: Dale Corlett – Script to Screen Executive Director pictured with Akiko
Prior to joining Script to Screen in 2024, for 9 1/2 years he was the Head of Talent Development at the NZFC. During this time over 80% of the filmmakers supported through the various NZFC short films programmes have progressed into development or production on their feature films and tv shows. Dale was the CEO/Creative Director of GMAC Film in Scotland, responsible for identifying and developing high quality emerging talent and supporting their progression from shorts to features and developing careers. He was also proactive in the creation of innovative, diversity-led and gender focused talent development programmes across Scotland and the UK. He is a graduate of Toi Whakaari New Zealand Drama School who has worked as a director, actor, producer and writer. He was nominated for a Scottish BAFTA Best Director Award in 2009 for his debut feature film, Running Traffic.
This screening is made possible through the generous support from the film’s distributor Studio Canal, The Capitol Cinema and through Script to Screen’s ongoing core funding from Te Tumu Whakaata Taonga NZ Film Commission
Script to Screen in collaboration with Film Dunedin, DCC Creative Partnerships, and the Otago Community Trust presents Screenwriting: What Producers Need to Know a two day workshop delivered by renowned Australian script editor/EP/creative producer Claire Dobbin.
Getting to work with Claire Dobbin is a rare opportunity for those committed to investing in themselves, their creativity, and their future as screen story tellers. Designed for producers, writers, HOD’s and other key creatives, Claire has developed and delivered workshops worldwide.
Effective collaboration is one of the key pillars of a screen storytellers toolkit, and is essential for all crew, whether they be above or below the line. The workshop will cover:
Advanced preparation of approximately 16-24 hrs is required. Participants will have a curated watch list and script reading to complete. These case studies will form an integral foundation for the analysis and discussion undertaken over the weekend.
This workshop was initiated by Film Dunedin and made possible thanks to generous support from Film Dunedin, Film Otago Southland, University of Otago, and Ara Toi Creative Capabilities to help build creative capability in the Otago and Southland regions.
When and where:
Saturday 1st and Sunday 2nd March 2025
9:00am – 5:00pm
Centre for Innovation, Seminar Room
87 Saint David Street, Dunedin North, Dunedin 9016
Cost:
Was: $85 Now: $20 Total *
On both days morning tea and afternoon tea provided, BYO lunch.
* The unique value of this workshop is recognised by Ara Toi, with subsidised places available thanks to the Ara Toi Arts Capability Fund.
Note: Places are limited. In order to complete the online registration you will be asked a series of short answer questions. You will be notified at least 2 weeks prior, if you have gained a place within the workshop.
ABOUT PROGRAMME MENTOR
CLAIRE DOBBIN
Claire Dobbin is a script editor/EP/creative producer who works globally with development agencies, screenwriters, producers and directors. Claire is also –
Claire devised, and secured the funds for:
In 2017 Claire was awarded an AM for Services to the Australian Film Industry and in 2019 Claire received the Jill Robb award for outstanding leadership in the Victorian Screen Industry.
Claire is currently the Executive Producer of a number of films including Shit – a film based on the acclaimed play of the same name. She is also script editing a number of international feature films and TV series in Europe, India and the US.
Script to Screen also receives core funding from Te Tumu Whakaata Taonga New Zealand Film Commission.
We have decided to reschedule the South Shorts Webinar due to the Auckland premiere of Tinā being held at the Civic Theatre on Tuesday 11th February 2025.
Script to Screen is committed to supporting the craft and culture of screen storytelling and we encourage you to support New Zealand cinema and attend if you are available. It’s going to be great!!!
The South Shorts Script Mentorship programme continues to support new and emerging screenwriters from South Auckland and aims to enhance the screenwriting capabilities of these filmmakers.
We understand that applying for opportunities, talking about yourself, and sharing your ideas can be difficult. This may even be your first time applying for a programme like South Shorts and that, in itself, can present obstacles. To reduce application anxiety and encourage more submissions, we are holding an online webinar. This webinar will walk through each question in the application, allow time for questions, as well as give insight into the opportunities and content that the mentorship programme will provide. This year we will also be accepting video applications to help expand the accessibility of our application process.
Don’t know where to begin? Here are a few ideas that might help to get you started:
Remember you can submit a video instead of this written approach.
Script to Screen recognises the enormous creative potential in South Auckland, and we encourage you to get in touch if you have any questions or need help with the application process.
The South Shorts Mentorship Programme is made possible thanks to generous support from Foundation North.
Script to Screen in collaboration with Film Queenstown Lakes presents Screenwriting: What Producers Need to Know a two day workshop delivered by renowned Australian script editor/EP/creative producer Claire Dobbin.
Getting to work with Claire Dobbin is a rare opportunity for those committed to investing in themselves, their creativity, and their future as screen story tellers. Designed for producers, writers, HOD’s and other key creatives, Claire has developed and delivered workshops worldwide.
Effective collaboration is one of the key pillars of a screen storytellers toolkit, and is essential for all crew, whether they be above or below the line. The workshop will cover:
Advanced preparation of approximately 16-24 hrs is required. Participants will have a curated watch list and script reading to complete. These case studies will form an integral foundation for the analysis and discussion undertaken over the weekend.
This workshop was initiated by Film Otago Southland and also made possible thanks to generous support from Film Otago Southland, Film Queenstown Lakes, and Central Lakes Arts Support Scheme (CLASS) to help build creative capability in the Otago and Southland regions.
When and where:
Saturday 22 and Sunday 23 February 2025
9:00am – 5:00pm
Building 11, Dart House, Remarkables Park Town Centre
12 Hawthorne Drive, Frankton, Queenstown 9300
Wheelchair Access is available. If you require special assistance, please let us know.
Cost:
Was $85 Now $20 Total * Tickets have been generously subsidised by Film Queenstown Lakes
On both days morning tea and afternoon tea provided, BYO lunch.
Note: Places are limited. In order to complete the online registration you will be asked a series of short answer questions. You will be notified at least 2 weeks prior, if you have gained a place within the workshop.
ABOUT PROGRAMME MENTOR
CLAIRE DOBBIN
Claire Dobbin is a script editor/EP/creative producer who works globally with development agencies, screenwriters, producers and directors. Claire is also –
Claire devised, and secured the funds for:
In 2017 Claire was awarded an AM for Services to the Australian Film Industry and in 2019 Claire received the Jill Robb award for outstanding leadership in the Victorian Screen Industry.
Claire is currently the Executive Producer of a number of films including Shit – a film based on the acclaimed play of the same name. She is also script editing a number of international feature films and TV series in Europe, India and the US.
Script to Screen also receives core funding from Te Tumu Whakaata Taonga New Zealand Film Commission.
After 10 years of support from Foundation North, we are proud to open applications for the 2025 South Shorts Script Mentorship programme. This programme will continue to support new and emerging screenwriters from the South Auckland community* to enhance their screenwriting capabilities. Take the leap and submit your story ideas to be a part of this unique development opportunity. South Shorts will help you develop your story idea/s (short film or web series), write a script, share your unique perspective, and advance your screenwriting career within a supportive framework.
During this six-month mentorship programme (Dates to be confirmed; likely May-September 2025), you will attend a series of Saturday hubs alongside like-minded creatives, be led through focused script development and receive one-on-one feedback under the guidance of writer, and director Briar Grace-Smith (Cousins, Waru). Briar has mentored the past 7 years of South Shorts, and she brings considerable experience and knowledge from her own projects.
The hub days are shaped based on the groups needs and involve script read-throughs, writing exercises, and hearing from guest speakers about their experiences making films. We also look forward this year to adding sessions around pitching ideas, funding, working with actors and further development tasks to the programme as required.
On completion you will leave South Shorts with new skills and tools to develop your work, a great new network of like-minded practitioners, a completed script, and greater confidence in yourself as a screenwriter.
We welcome applications from past participants of the South Shorts programme, who wish to develop a new script idea and are still recognised as new and emerging screenwriters.
This year we will also be accepting video applications to help expand the accessibility of our application process.
Opens: Monday 16th December 2024
Information Webinar: 5 pm – 6 pm Tuesday 11th February 2025
Closes: 1 pm, Monday 3rd March 2025
“The confidence that participating in South Shorts has instilled in me as an emerging filmmaker cannot be understated. Briar and Script to Screen create such a safe space for us to grow as writers at our own pace and to tell stories that otherwise wouldn’t get told in Aotearoa. Whatever is next on my filmmaking journey, I can thank South Shorts for helping to build me as a writer and filmmaker.”
– Claire Patolo, South Shorts 2024 Participant
About you: (Either a written application or video submission outlining the below.)
About your project:
Optional material:
Who is eligible?
Briar Grace-Smith is of Ngā Puhi descent and a writer of short fiction, stage plays and feature films. Her plays include Ngā Pou Wāhine, Purapurawhetū and When Sun and Moon Collide. She is an Arts Foundation Laureate and was recently made an Officer of the New Zealand Order of Merit for services to film, television and theatre. She has worked as a Development Executive for the New Zealand Film Commission and taught ‘Writing for Theatre’ at IIML (2015). Briar is a Sundance alumni and the writer of the feature films The Strength of Water and Fresh Meat. Her television credits include Fishskin Suit, Being Eve, Kaitangata Twitch and the Australian children’s television series, Grace Beside Me (2017). She was a director and co-writer of the short film, Nine of Hearts, and wrote and directed Charm for the feature project Waru (2017). She collaborated with Toi Whakaari, directing Krystal, a short film by Josephine Stewart-Te Whiu. She was the screenwriter and co-director of the feature film Cousins, and is a writer and co-director of Rūrangi, Series 2. Briar was made a member of the Directors branch of the Academy in 2022.
The South Shorts Mentorship Programme is made possible thanks to generous support from Foundation North.
We had 148 people join us online, from all across Aotearoa and the world. We’re proud to release this as a resource for those who couldn’t make the live talk.
Producers Halaifonua Finau (Red, White and Brass), Karin Williams (We Live by the River), and Angela Cudd (Uproar) delved into how to create great funding applications for film and television projects in Aotearoa.
In conversation with Script to Screen’s Executive Director Dale Corlett, these industry leaders gave their unique insights into what makes a strong application, including:
From the big picture of your idea to the nitty gritty of the application requirements, you now have unlimited access to help take your applications to the next level.
The talk concluded with representatives from the New Zealand Film Commission, New Zealand On Air, and Te Māngai Pāho answering your questions and sharing their insights.
The webinar Q&A is available to read below.
NZOA, NZFC and Te Māngai Pāho Funding FAQ’s
Read funding FAQ’s – Mentioned in Video
Additional information:
NZFC
Email funding@nzfim.co.nz for specific funding info – it will get passed on to the right person to answer and help.
Note: This is for those who already have scripts or projects for development.
The guilds and legacy collectives – are a key touchstone for emerging writers and stories, so please reach out, their information is also on our website or via Script to Screen.
Q&A
Here are the answers to the questions asked during the online talk. These have been transcribed and edited for clarity. They are meant to accompany the webinar, as some responses refer to earlier content.
We have also provided a summary of key points answering each question.
Co-productions
Q: If there was already offshore interest either partial funding or a production team attached to a pitch. Would this deter New Zealand funding?
Te o Kahurangi: Depends on how much the investor or offshore producer was contributing.
Co-Productions are about 2 or more countries and partners agreeing to work on a project. There are treaties with key countries and Official Co-Productions that are about helping to make films with Producers and Creatives.
Getting the creative balance and funding balance can be tricky.
Key Points
Q: What is the best way to find/collect a list of all the funding organisations for a specific theme of a project?
Nua: AI, put it in ChatGPT. There’s no way I would have found out about the Canary Islands and available tax rebates. If it wasn’t for AI, that would have taken me ages. You have to double-check it, though. Like don’t just find the info and “okay, that’s it.” It can cut many steps out of the process… and speed it up.
Heperi: In terms of theme, theme can be very broad, and Angela touched on this. Look at our Press Releases for things we (NZOA) have funded. This will give a sense of the theme or the genre of things we have supported in the past. All funders have annual reporting documents, which is a list of everything they supported in the year. Which generally has the genre and a little bit about what the projects are about. This will help make sure you are presenting a new idea. It will give you a sense of the type of things each funder is focusing on. The tricky thing is it’s past.
Also, look at RFPs of the platform and what specific types of programmes they are trying to line up.
Ange: Go to the industry events and annual hui for broadcasters and funders, they will give a general idea of what’s to come.
Key Points:
Q: What proportion of the Proposal document would you expect the Writer/Director to write? And how much does the Producer write?
Ange: In terms of my process, I start with a checklist, the director will give the script, director’s vision, tone and style and have a go at the logline and synopsis. Most of everything else should come from the producer.
Producers do most of the interfacing with the funders and dissecting the funding round and what they’re looking for. It’s about strategically making sure each section (tone, world, directors’ vision, producers, statement, and synopsis) aligns with what the funders are looking for.
Nua: The order information is presented is important. Especially when I’m doing stuff internationally, that is set in Tonga, for example. I can’t just write a logline, synopsis, story and carry on, I’ve got to tell this person where the hell Tonga is, and what Tonga is. The tricky part is how you do that quickly and succinctly. You need to be thinking of who your reader is going to be, what funding body you’re going to, and who’s going to be assessing it. Often, they’ll get an external international assessor and an intern like a New Zealander. So, just making sure that the info you’re saying is accurate. Someone from Australia who has never been to a rural farming community. They don’t know what the hell a shearing shed is. So, if your film was set in the shearing shed, and you’ve got a language specific to that area, do you need to put a little glossary of terms at the top of your proposal or something like that, or if it’s in a foreign language. The producer would normally write all of it. And because it all costs money, you have to do the business side too, the finance plan and everything like that.
Key Points:
Q: When assessing regional projects (esp. South Island), are there any elements that you’d like to see more fleshed out? Are there any consistent weaknesses or strengths of projects that take place outside of the big cities?
Te O Kahurangi: It’s really important that if you’re looking at things in the South Island, that you’ve got some context there, that you’re actually writing from that perspective. So just as Nua talked about all of how you make those stories unique, whether it’s from a Tongan perspective, whether it’s actually on an island or in a specific space, it’s the same in terms of the South Island. It may require engagement with iwi, depending on where your location is, the nature of the stories that you are writing, and what perspectives those characters are coming from, Māori characters, for example. You need to show the authenticity of that place and how it is that you’ve engaged in that, before you come in for funding or before you completed your story, that it has all been taken into consideration when you’re writing your work.
Heperi: The unfortunate reality of the industry; is that we’re in a capitalistic industry and the big question is about cost. A lot of productions are in Auckland and Wellington, there is more studio space, and accommodation, and getting people to and from set. It’s just simpler. So, when you are working in the regions its about making the logistical aspects in your production worth the additional cost. At NZOA in the way we assess, we do place value on regionalism and representation of Aotearoa’s regions. As it can cost a little bit more, you need to have that factored in and have those rationales spoken to in the application.
Juneea: TMP specific perspective. We have a part in our criteria with a po tiake reo and po tiake tikanga. And regional iwi hapu marae setting. The best way forward is to get a person from that iwi, hapu, marae and support from that iwi specifically.
Te O Kahurangi: Regional film offices, if you are looking at regions, whether it’s in the South Island or other places. There are regional film offices that are available that can help you. If you’re thinking about looking for space, about looking for other ways you can make your production work. There are also the different universities and some of the councils that have screen arms or film arms specific to that particular area when you’re looking at permits.
Currently, Share the Knowledge, is looking at, a program where they’ve got specific work around one of the productions and looking at interns and training alongside one of their productions called Holy Days in the South Island.
I can’t reinforce more around keeping in touch/up to date with newsletters, with the guilds and making sure that you’re aware of everything that’s happening because you might find that there’s another way to help you achieve your goal for your production.
Key Points:
Q: Is there any advice on finding more online workshops/South Island projects?
A: Reach out to RFONZ / your regional Film Offices, they will know what is going on and will always like to hear there is a need in their area. https://www.filmoffices.nz/
Skillshare, online filmmaking facebook groups are also generally open to new members and members asking specific questions.
Script to Screen and Day One have a range of resources, The Big Idea- Learning Network https://learning.thebigidea.nz/
Key Points:
Context: As someone based in the South Island, seeing so many North Island-specific workshops and opportunities can be discouraging.
Q: In the very early stages, before even thinking about approaching the funding bodies, what do you think is the best way to approach potential collaborators like producers or networks? Would I need a one-pager or series bible ready to go?
Angela: Take me for food… For anyone you’re approaching, send them and email, and if they have capacity they may take you up on a 30 min meeting. Make sure you know what you want from it and have more than just an idea. As a producer, in order to take it to the next stage it needs to be a script or episode synopsis. Know exactly what you want. Do you want an EP, or producer, or do you need someone to give you ideas on what you can do next.
Nua: You also need to have an understanding of who the producers are, what films they have made, and is your project in the wheelhouse of what they are doing. You need to have an understanding of your project. Is that producer the right person? Just because I’m Tongan doesn’t mean I will add value to art house stuff, give someone else a ring, or call experts in the specific field. Look at the producers’ slate; what is their brand, and does it align with your project?
Key Points:
Te Māngai Paho
Q: How do you classify a project with 30 % Te Reo content, how can a project meet that requirement?
A: Applicants determine the percentage of te reo their project will contain. Part of the Māori language plan requirements is to explain how the applicant will meet the project’s target te reo Māori percentage.
Key Points:
Q: What would you include in a presentation/pitch for collaborators?
A: Logline, synopsis, theme, tone, genre, your relationship to the story, why you want them as your collaborators, kaupapa, visual pitch deck.
QUESTIONS FOR INDUSTRY ORGANISATIONS
We ran out of time on the zoom to answer the following questions. We are working with the guilds and industry organisations to answer them and then share them with you.
Q: Do you have any recommendations for organisation that would be interested in funding black narratives?
A:
Q: How do you know when NOT to put in a proposal?
A:
Context: The FOMO can be intense. I often find myself running from one prop to the next, spreading myself thin and not having enough time to do actual writing.
Q: How do I attract a producer to do all this for me? Do you offer them a cut from the successful funds?
A:
Q: How to budget the producer’s work on a project?
A:
Context: Financing is not my wheelhouse,
Q: How would you attach big named actors to your project in order to strengthen your application?
A:
Q: Do you include marketing plans in your proposals? For example socials, or advertising or fan community building plans
A:
Q: What are some common mistakes for novices seen in pitching documents?
A:
Q: What is valuable to include in the business side of the pitching document? What elements should you be spending time on as a producer?
A:
ABOUT SPEAKERS
Angela Cudd is an award-winning screen producer with a passion for stories told through an indigenous or fresh lens and a vision for showcasing NZ screen excellence to the world. Coming from a background in fashion and beauty event and business management, Angela began working in the screen industry in the early 2010s. Angela initially worked across a range of fields including narrative film, documentary, reality-challenge TV, OB live events & studio shows before settling in the narrative and documentary space. She went on to produce the sitcoms ‘Sextortion’ and ‘Good Grief’, fluent reo Māori kids show ‘Pōtae Pai’ and co-produced the anthology feature film ‘We Are Still Here’, which interweaves eight stories of indigenous struggle and triumph and premiered at the Toronto International Film Festival in 2022. In 2019, Angela founded Caravan Carpark Films (CCF), a production house focusing on screen and indigenous excellence as well as capacity building of emerging screen innovators. Most recently, under the umbrella of CCF, Angela produced the feature film ‘Uproar’ and the documentary series ‘When Bob Came’. ‘Uproar’ starred Julian Dennison, Minnie Driver and Rhys Darby, premiered at the Toronto International Film Festival in 2023 and was released globally in early 2024 to critical acclaim. ‘When Bob Came’ explored the impact of Bob Marley’s only concert in NZ and was awarded Best Factual Series at the NZ TV Awards 2023.
Karin Williams is a descendant of British settlers in Aotearoa New Zealand and ancestors from the South Pacific island of Aitutaki. She began her career as a reporter at the Cook Islands News in Rarotonga, going on to work as a writer, director and producer for broadcast networks in New Zealand and the USA. She founded Multinesia Productions to support global indigenous storytelling and has worked with first nations communities in Canada, Alaska and the Pacific on grassroots community projects. Her independent film projects have screened at festivals around the world. Karin served as a Development Executive at the NZ Film Commission (NZFC) and works with Pasifika storytellers to bring authentic projects to stage and screen. Recent credits include Teine Sā, a Pacific horror/anthology series for Sky NZ Originals, and the Polynesian sketch comedy series, SIS, screening on Comedy Central, Prime and Neon. Karin is a funding assessor for a range of agencies including NZFC, Creative NZ, Script to Screen, Pan Asian Screen Collective (PASC) and Pacific Islanders in Communications (PIC). She is a member of Women in Film and Television (WIFT), Pacific Island Screen Artists (PISA) and serves on the Executive Boards of Script to Screen and SPADA, the Screen Production and Development Association. She is a vocal advocate for diversity and inclusion in the screen industry.
A proud Tongan, born and raised in Aotearoa, New Zealand. Halaifonua Finau, or Nua as he’s more commonly known, is at the forefront of bringing Polynesian stories to our screens. He studied at Whitireia Performing Arts as a dancer but made his name in the industry as an actor and presenter, before shifting his love of performance and storytelling behind the camera. Nua brings storytelling with Tongan swag to the kava bowl of creativity. He is a writer and producer, with a mission to take his little corner of the Pacific to the world. He cut his teeth in children’s television as a producer on Small Blacks TV and honed his skills and vibe in series two of the much-loved Polynesian series Baby Mama’s Club. In 2019, Nua was co-writer and associate producer on Jonah, the tele-feature drama series on Tongan and All Blacks rugby legend, Jonah Lomu. In 2021, Nua teamed up with Four Knights’ maestro, Tom Hern and the pair founded their production company Tavake. Tavake’s first drama series The Panthers, which Nua wrote, created and executive produced alongside Hern, was the first New Zealand TV series to premiere at the prestigious Toronto International Film Festival. 2023 was a landmark year for Nua. He released his first feature film ‘Red, White & Brass, a crowd-pleasing family film (based on Nua’s own life experiences in a family/church brass band) – which he wrote and produced alongside Executive Producers Taika Waititi and Carthew Neal. The film opened at number 1 at the local box office and went on to become the top local film of the year and, in doing so, a certified Polynesian classic. Nua was the 2023 recipient of the Ministry of Foreign Affairs and Trade Pacific Enterprise Award. He currently serves on the Content Advisory Board for the Banff World Media Festival. Finau is represented by Kaplan Perrone Entertainment.
This Script to Screen TALKS is made possible thanks to
New Zealand Film Commission.
Script to Screen is presenting a one-day scriptwriting workshop in South Auckland. This is a great opportunity for local storytellers to learn from renowned writer, director, and author Michael Bennett (The Gone, In Dark Places). Michael has worked across a range of genres within feature film, short films, and television, including documentaries, crime thrillers, and drama.
The workshop will dive into writing fundamentals including character, story structure and key moments that make a great story for screen. In the afternoon you will develop your own original story idea and write a scene.
This is a practical and interactive workshop that will help you find the momentum you need to start writing your screen story or move your project forward. It is also a fantastic opportunity to meet other creatives within the community and be inspired by filmmaking’s possibilities.
We welcome anyone who wants to tell their stories through film. If you’re a new or emerging filmmaker or a local creative this workshop is for you.
When and where:
Saturday 30th November 2024
9am – 5pm
Friendship House, 20 Putney Way, Manukau, South Auckland
The venue is wheelchair accessible
Cost: $12.50 (INC BF & GST) Book via Humanitix
Morning tea and afternoon tea provided, BYO lunch
ABOUT PROGRAMME MENTORS
MICHAEL BENNET
Michael Bennett (Ngāti Pikiao, Ngāti Whakaue) is a screenwriter, filmmaker and author. Michael’s short films and feature films have screened and won awards internationally, including Cannes, Toronto, Berlin, Locarno, New York, London, ImagiNative and Dreamspeakers. He is the 2020 recipient of the Te Aupounamu Māori Screen Excellence Award, awarded by the NZ Film Commission for excellence in Māori filmmaking. Michael devoted many years of his recent career to the fight for justice for Teina Pora, a young Māori man wrongly imprisoned for 21 years. Michael made the documentary The Confessions of Prisoner T, which lead to the discovery of evidence pivotal to Teina’s exoneration. Michael directed and co-wrote the TV feature film In Dark Places about Teina’s case, which was finalist for a record 11 awards in the NZ Television Awards, winning Best Film and Best Director. Michael has been head writer or showrunner for many dozens of hours of prime-time television drama including The Gone (NZ / Ireland crime thriller), Vegas (crime thriller), Te Kohu (supernatural drama), and Mataku (the Māori Twilight Zone). Michael’s debut novel Better The Blood, a crime thriller, was published in 2022 in the UK, USA, Australia and NZ, with nine international translations. Better The Blood was a finalist for the fiction prize at the 2023 New Zealand literary awards (The Ockhams) and won Best First Novel at the Ngaio Marsh Awards. Michael is currently adapting his novel for television, and his second novel, Return To Blood, is in bookstores now.
This workshop is made possible thanks to generous support from Foundation North and Te Tumu Whakaata Taonga New Zealand Film Commission.
Spend a day with Hamish Bennett (Bellbird, Uproar) as he guides participants through the fundamentals of screenplay writing for short film.
The focus of the day will be building stories around character and bringing specificity to your work. This workshop will be craft based, combining practical exercises with discussion and reflection. After covering writing fundamentals, participants will then explore bringing the written element from the page to the screen.
Promising to be both interactive and engaging, this is a terrific opportunity to spend a day focusing on your craft as a writer.
When and where:
Saturday 12 October 2024
9:00 am – 5:00 pm
Screen CanterburyNZ Office
BNZ Centre, Level 3, 101 Cashel Street
Wheelchair access is available.
Ages 16 +
$25.00 (incl. GST & Fees) book via Humanitix
Morning tea and afternoon tea provided, BYO lunch
ABOUT
HAMISH BENNET
Hamish Bennett (Te Arawa, Patuharakeke, Kāi Tahu) is an accomplished director and award-winning screenwriter based in Aotearoa New Zealand. In 2023, he co-wrote and co-directed his second feature film, Uproar (Firefly Films), which celebrated its world premiere at the 2023 Toronto International Film Festival, earning widespread acclaim from both audiences and critics.
In 2019, Hamish wrote and directed his debut feature film, Bellbird (Herringbone Productions), garnering recognition on the international festival circuit and securing several awards, including Best Screenplay at the Macao International Film Festival.
In addition to his success in feature films, Hamish has lent his writing expertise to various television series, including Hui Hoppers (NZTV, 2023) and the teen drama Mystic (Libertine Pictures, NZTV, 2022).
During the early stages of his career, Hamish directed multiple award-winning short films. In 2011, his short film The Dump earned him the Best Short Script award at the New Zealand Writers Guild Awards. Subsequently, in 2014, Ross & Beth claimed both the jury and audience prizes at the New Zealand International Film Festival.
Beyond his creative work, Hamish has over twenty years of experience as a school teacher, and has recently returned to Aotearoa with his whānau after two years living in Rarotonga.
This Script to Screen workshop is made possible thanks to generous support from Christchurch Creative Communities and Screen CanterburyNZ.
Presented by Script to Screen in collaboration with Ngā Aho Whakaari and PISA (Pacific Islands Screen Artists)
Join Producers Halaifonua Finau (Red, White and Brass), Karin Williams (We Live by the River), and Angela Cudd (Uproar) as they delve into how to create great funding applications for film and television projects in Aotearoa.
In conversation with Script to Screen’s Executive Director Dale Corlett, these industry leaders will give their unique insights into what makes a strong application, including:
From the big picture of your idea to the nitty gritty of the application requirements, you don’t want to miss this fantastic lineup of speakers. We encourage producers, writers, and directors to take advantage of this opportunity.
Funding pools are small, this inspiring session will give you access to tools that help take your application to the next level.
After the presentation, time will be allocated to meet the representatives from the New Zealand Film Commission, New Zealand On Air, and Te Māngai Pāho and ask your questions.
Tuesday 24th September 2024
4:00pm – 5:00pm
ONLINE
ABOUT
Angela Cudd is an award-winning screen producer with a passion for stories told through an indigenous or fresh lens and a vision for showcasing NZ screen excellence to the world. Coming from a background in fashion and beauty event and business management, Angela began working in the screen industry in the early 2010s. Angela initially worked across a range of fields including narrative film, documentary, reality-challenge TV, OB live events & studio shows before settling in the narrative and documentary space. She went on to produce the sitcoms ‘Sextortion’ and ‘Good Grief’, fluent reo Māori kids show ‘Pōtae Pai’ and co-produced the anthology feature film ‘We Are Still Here’, which interweaves eight stories of indigenous struggle and triumph and premiered at the Toronto International Film Festival in 2022. In 2019, Angela founded Caravan Carpark Films (CCF), a production house focusing on screen and indigenous excellence as well as capacity building of emerging screen innovators. Most recently, under the umbrella of CCF, Angela produced the feature film ‘Uproar’ and the documentary series ‘When Bob Came’. ‘Uproar’ starred Julian Dennison, Minnie Driver and Rhys Darby, premiered at the Toronto International Film Festival in 2023 and was released globally in early 2024 to critical acclaim. ‘When Bob Came’ explored the impact of Bob Marley’s only concert in NZ and was awarded Best Factual Series at the NZ TV Awards 2023.
Karin Williams is a descendant of British settlers in Aotearoa New Zealand and ancestors from the South Pacific island of Aitutaki. She began her career as a reporter at the Cook Islands News in Rarotonga, going on to work as a writer, director and producer for broadcast networks in New Zealand and the USA. She founded Multinesia Productions to support global indigenous storytelling and has worked with first nations communities in Canada, Alaska and the Pacific on grassroots community projects. Her independent film projects have screened at festivals around the world. Karin served as a Development Executive at the NZ Film Commission (NZFC) and works with Pasifika storytellers to bring authentic projects to stage and screen. Recent credits include Teine Sā, a Pacific horror/anthology series for Sky NZ Originals, and the Polynesian sketch comedy series, SIS, screening on Comedy Central, Prime and Neon. Karin is a funding assessor for a range of agencies including NZFC, Creative NZ, Script to Screen, Pan Asian Screen Collective (PASC) and Pacific Islanders in Communications (PIC). She is a member of Women in Film and Television (WIFT), Pacific Island Screen Artists (PISA) and serves on the Executive Boards of Script to Screen and SPADA, the Screen Production and Development Association. She is a vocal advocate for diversity and inclusion in the screen industry.
A proud Tongan, born and raised in Aotearoa, New Zealand. Halaifonua Finau, or Nua as he’s more commonly known, is at the forefront of bringing Polynesian stories to our screens. He studied at Whitireia Performing Arts as a dancer but made his name in the industry as an actor and presenter, before shifting his love of performance and storytelling behind the camera. Nua brings storytelling with Tongan swag to the kava bowl of creativity. He is a writer and producer, with a mission to take his little corner of the Pacific to the world. He cut his teeth in children’s television as a producer on Small Blacks TV and honed his skills and vibe in series two of the much-loved Polynesian series Baby Mama’s Club. In 2019, Nua was co-writer and associate producer on Jonah, the tele-feature drama series on Tongan and All Blacks rugby legend, Jonah Lomu. In 2021, Nua teamed up with Four Knights’ maestro, Tom Hern and the pair founded their production company Tavake. Tavake’s first drama series The Panthers, which Nua wrote, created and executive produced alongside Hern, was the first New Zealand TV series to premiere at the prestigious Toronto International Film Festival. 2023 was a landmark year for Nua. He released his first feature film ‘Red, White & Brass, a crowd-pleasing family film (based on Nua’s own life experiences in a family/church brass band) – which he wrote and produced alongside Executive Producers Taika Waititi and Carthew Neal. The film opened at number 1 at the local box office and went on to become the top local film of the year and, in doing so, a certified Polynesian classic. Nua was the 2023 recipient of the Ministry of Foreign Affairs and Trade Pacific Enterprise Award. He currently serves on the Content Advisory Board for the Banff World Media Festival. Finau is represented by Kaplan Perrone Entertainment.
This Script to Screen TALKS is made possible thanks to
New Zealand Film Commission.
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📸 Photo by Evie Mackay