Since 2009, Script to Screen has proudly delivered 18 workshops throughout Northland and the Far North. Nurturing the talents of young filmmakers from Hokianga, Rawene, Whirinaki, Kaikohe, Kerikeri and Whangārei.
Each session provides a unique experience, fostering skills in writing, directing, and producing and acting while also offering an opportunity to connect with other creatives.
Given our extensive experience and expertise in developing people’s creativity and their projects, Script to Screen recognises the essential role filmmaking and the wider arts play in people lives.
We disagree with the recent government kōrero that the arts are a “nice to have”. From our experience, we understand the true value creative development programmes and workshops like the ones that Script to Screen run have for the individuals participating in them, along with their wider community. That is why we are committed to continuing to offer this unique create pathway within Northland for the next generation of screen storytellers to develop their skills and creative voice.
Film still, taken from Qianne Titore’s short film NATALIE.
The 2016 Hokianga Filmmaking Workshop served as a platform for young voices to be heard. Qianne Titore’s short film NATALIE went on the screen at the Wairoa Film Festival and New Zealand International Film Festival.
Qianna Titore (Ngāti Hau, Ngāti Kaharau) went on to graduate from AUT with a Bachelor’s of Communication Studies in Television. She is the youngest filmmaker selected for the NZ international film festival with her short film NATALIE, made in the Hokianga as part of a filmmaking workshop run by Script to Screen. Qianna also won Best Documentary/Pakipūmeka Mātua for Wāhine Toa at the 2019 E Tū Whānau Rangatahi Film Award.
Founded in 2007 Script to Screen has seen the evidence of the positive impact the arts has in communities across Aotearoa, and is committed to fostering opportunities for young talent to thrive through participating in filmmaking.
The impact of these specific workshops is reflected in the words of our past participants:
“Having a creative space that gives youth an accepting and open environment to express themselves leaves a positive effect. Initiatives like this should be held all over the country.” — Workshop Participant, 2020
“This workshop is important to young people in Northland as it allows them to gain a better understanding of the film industry and how to develop their own skills.” — Workshop Participant, 2020
“Kids aspiring to be part of the film industry need access to amazing workshops that bring together a like-minded community. I’ve left feeling like I have knowledge that can only be taught in person.” — Workshop Participant, 2023
As we head into the new year, Script to Screen are excited to announce, thanks to the continued support of Foundation North, we will continue our creative journey with the Northland Film Workshops coming back to Whangārei for the 6th year in 2025!
The Northland Film Workshops consist of a four-day programme aimed at young people aged 14 to 17 and a one-day adult workshop for people 17+, funded by Foundation North and brought to you by Script to Screen.
The workshops mentioned were made possible thanks to generous support from Foundation North.
Kotahi kapua ki te rangi he marangai ki te whenua *
one cloud from the heavens brings rain and nourishment to the parched land
nā tauira o Te Ataarangi
Script to Screen, in collaboration with Compton School, is excited to announce the participants for our new innovative mentorship programme, Rainmakers Aotearoa.
We received 100 applications for Rainmakers Aotearoa, it is clear this is a programme that the industry wants.
Thank you to everyone who applied. Due to the quantity and high quality of applicants, the selectors struggled to narrow down the shortlist.
The second part of the selection process involved brief interviews with the 12 shortlisted applicants. This was an opportunity to further clarify what they wanted to get out of the programme, the type of person or qualities and skills they were looking for in a potential mentor, and where they saw this mentorship taking them on their own personal and professional journey.
The final six chosen to be a part of this first year of Rainmakers Aotearoa are now ready to begin this journey with Script to Screen and Compton School in designing their mentorship for the year ahead.
Candidates come from across the landscape of screen storytelling.
The participants selected for Rainmakers Aotearoa:
(pictured left to right)
Once mentors have been selected and matched, Script to Screen will publish them alongside the mentees.
Rainmakers Aotearoa will harness the knowledge of a generation of exceptional individuals, and through a co-designed approach, support the transfer of knowledge.
Script to Screen is committed to continuing to develop and deliver development programmes that meet the needs of the screen sector of Aotearoa.
* This whakatauī is from a waiata composed by early members of Te Ataarangi in honour of Dame Kāterina Mataira and the kaupapa of Te Ataarangi in Te Reo language revitalisation – which continues today. It describes how a single person or kaupapa (kotahi kapua) can have great impact, just like one lifegiving rain shower on the parched land.
Rainmakers Aotearoa is a Script to Screen initiative run in partnership with Compton School.
Rainmakers Aotearoa is possible thanks to generous support from Te Tumu Whakaata Taonga New Zealand Film Commission.
“South Shorts has given me the opportunity to connect with industry experts and fellow storytellers, building my confidence to develop my first short film.”– Ava Williams, 2022
The South Shorts Mentorship Programme, an initiative by Script to Screen funded by Foundation North, has made a significant impact on the South Auckland community and creative storytelling over the past ten years.
By fostering local talent through intensive script development for short films, this programme has supported over 80 aspiring filmmakers to develop their creative visions.
The South Shorts programme which runs five hubs over five months, equips participants with essential skills in script and story development.
The fully-funded programme features mentorship by writer and director Briar Grace-Smith and seminars with industry experts. This combination of mentorship and seminars, helps participants build a strong understanding of the film industry and aids them in refining their scripts for further development, preparing them for the next steps in the process.
Since 2015 numerous films developed during South Shorts have gone on to be made and screened in festivals across the world, including:
Many alumni have gone on to achieve remarkable success, including:
These achievements highlight the programme’s effectiveness as a launch pad for emerging filmmakers. The South Shorts programme has not only contributed to the success of individual participants but has also played a vital role to support the creative community of South Auckland.
“The connections I made were life-changing. I highly recommend these workshops to any filmmaker looking to develop their ideas.” – Kaitiaki Rodger, 2023
“Seeing the progression of my peers and myself is a testament to the quality of the programme and its mentors.” – Dennis Zhang, 2021
As we gear up for the 2024/25 South Shorts Mentorship Programme, Script to Screen remains committed to nurturing diverse voices and stories from South Auckland. The continued support from Foundation North ensures that unique narratives will resonate on screens both locally and beyond.
We look forward to celebrating the next generation of filmmakers and the remarkable stories they will bring to life, further enriching the film industry with their perspectives and creativity.
Troy Blackman developed his short film script for Zebra as a South Shorts particpant in 2023. Now he needs our help to make it happen!
A MESSAGE FROM TROY:
“When I submitted Zebra to Script to Screen, I wasn’t sure they’d let me in – I used the N-word so much in the synopsis. But from the start of this journey, I’ve been met with so much support and reassurance that stories like this need to be told. I can’t thank Briar Grace-Smith, Script to Screen, my team, and all my Boosted supporters enough for getting Zebra this far. We’re just about ready to cross now!”
LOGLINE:
A mixed-race (Black/White) crossing guard, who is repeatedly called the N-word at school, discovers the power of his voice and learns that sticks and stones aren’t the only things that can break bones.
WHY THIS STORY MATTERS:
Zebra is more than a short film; it’s a call to action, challenging that classic Kiwi “she’ll be right” mentality that can often dismiss the power of harmful language. The film explores how words can leave deeper scars than physical violence, forcing us to rethink the adage, “Sticks and stones may break my bones, but words will never hurt me.” By placing a black narrative within the context of Aotearoa, Zebra offers a fresh, authentic perspective on how to confront racism and use dialogue to bring about change. Our protagonist, Tobe, uses his voice and the system to outsmart his aggressor, presenting a narrative that is both a coming-of-age story and a cautionary tale.
Troy Blackman – Writer/Director (Photo by Abhi Chinniah)
Troy Blackman is an Afro-Caribbean/NZ European filmmaker based in Tāmaki Makaurau (Auckland) whose work is deeply inspired by his unique ethnic background. Through his films, he explores the complex relationships between race, identity, and society. Zebra is a project born from his lived experience and desire to amplify black voices in Aotearoa, highlighting stories often overlooked by mainstream media. This film is a culmination of his creative journey, developed through the Script to Screen South Shorts Mentorship Programme.
The South Shorts Mentorship Programme is made possible thanks to generous support from Foundation North.
Script to Screen is delighted to announce the participants selected for Strength in Numbers 2024/2025.
Over a series of workshops run by Script to Screen and led by David Court, Strength in Numbers participants are given the time and tools they need to make strategic and sustainable choices for their creative enterprises. This is a unique opportunity for screen industry businesses to work together on the building blocks of business models that will sustain their future and, ultimately, shape the industry.
The Strength in Numbers programme was developed to benefit the participants and their businesses, as well as to help foster talent and facilitate economic growth throughout Aotearoa. This year, of the 9 screen businesses selected, participants come from Northland, Auckland, Bay of Plenty, Wellington, Nelson, and Southland.
Strength in Numbers is made possible thanks to financial support from the New Zealand Film Commission and with special thanks to the regional film offices covering travel costs.
Congratulations to the participants and their businesses selected for Strength in Numbers 2024/2025:
Strength in Numbers is a Script to Screen initiative run in partnership with Compton School.
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.
Last month, we wrapped the Southern Pilots Development Programme with an engaging online pitching session, showcasing “Stories from The Deep South.” We are immensely proud of the dedication and creativity demonstrated by our selected participants.
The teams presented their projects to an audience of 14 industry professionals, including platform representatives and leading producers. Delivered by Script to Screen in partnership with Film Otago Southland, Southern Pilots was designed specifically for screen creators based in Otago and Southland.
Among the 3 teams selected Dog Town, Devil’s Junction, and Southern Skies each project brought its unique vision while proudly calling Dunedin home.
Programmes like this allow us to shine a spotlight on the incredible talent and calibre of creatives from the South Island and other regions of Aotearoa.
For Script to Screen, it was a true privilege to host the workshop in Ōamaru, facilitating the growth of these talented teams in such a beautiful part of Aotearoa. Over the three-day workshop, participants engaged in one-on-one advisory sessions and seminars with industry speakers, furthering their development process.
Let’s continue to celebrate the remarkable work of these filmmakers and the often-unseen effort that goes into crafting screen stories. We hope to see these projects lighting up our screens in the near future!
Congratulations to the 2024 Southern Pilots cohort:
Southern Pilots kaupapa was created to help creatives from Otago and Southland generate IP for local and international audiences. This will, in turn, increase activity in both regions and foster a strong creative network of screen practitioners.
The Southern Pilots development programme was made possible thanks to funding from the 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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| Please apply via our online form: https://form.jotform.com/Script_to_Screen_NZ/story-camp-2025-application-form
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📸 Photo by Evie Mackay