Crafting Screen Stories for Short Films

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:

Putting your team together
Gathering key information
Strategic partnerships
Finding your authentic voice so that your idea can leap off the page

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

Read application FAQ’s

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.

WEBINAR AVAILABLE TO WATCH ON YOUTUBE

Q. What are some of the topics that Strength in Numbers will cover?

Curriculum: How to build a business

Business Structure: How to bring people together in a way that works for creative businesses.
Decision Making: How to make good decisions especially about the projects you back.
Content: What are you making? Rights and Interests, how they are shared. Financing.
Growth Strategies: How people grow creative businesses.
Business Planning: The story of your business, what you tell funders, partners and investors.
Pitching: How to pitch to win.

Q. Is there funding to support travel for the in-person hubs?

There is funding available to support travel to the hubs in Tāmaki Makaurau/Auckland.
Accommodation will also be provided for those travelling from outside regions.

Q. Can more than one person from your business attend?
(We have 3x producers in our screen business and think this would be a fabulous opportunity for us all to be involved in.)

In fairness to all applicants we encourage the business to send in an application for one person. That person can then take the message home and work offline with their partners to develop the answers to the questions that are posed in the workshops.

** Please see the question below for more information

Q. What if your business is a partnership with 2 equal directors? (For a director to make strategic decisions in the moment would be against the value system of a business with 2 equal directors.)

You won’t be making decisions in the moment. We’re really framing questions and helping you work towards your own solutions. You will take these questions back to consult with people; stakeholders not just partners, but maybe life partners or, sometimes even employees or an investor if you have one, you know, there’ll be lots of people who need to be brought into the discussion.

**Additional information that was not part of the webinar:
Applications for businesses with multiple partners to attend will be considered on a case-by-case basis. With limited places available, we would like to benefit as many businesses as possible.

Q. What are you are looking for in an applicant?

We’re looking for people who are at certain stage in their business life where they have something they want to try and solve.
Applicants will need to be open to the learning and possibility of things changing, and open to learning from others.
Track record of delivering projects – this may be a new business venture for you but you have experience in other businesses.
Readiness. You have reached the point where you are questioning viability and sustainability for your business.
Ambition for yourself and your business.

Q. A lot of film and TV business seem to get off the ground from either a commercial or critical success – for producers with funded projects and future ambitions but without a current regular cashflow is the course appropriate?

If you’ve had success with your business – this is a great stage to be in as it creates momentum to pick up more projects.
The course is appropriate if you are ready to engage with the business questions, they matter to you enough and you see them as a serious set of questions to engage with.

You have the ambition to build something.

Q. Will there be any focus on obtaining funding for films, getting sponsorship for films and/or marketing films?

No. Strength in Numbers is about the business that sits beneath the projects.

We are interested in the choices you’re making about what to make and how you’re making choices. Fundamentally, we’re interested in the day-to-day platform, the place where you conduct the making of the films.

Q. In the overview it says “Ideal applicants will have a screen industry business (at least three years old) with a slate of projects” Is it possible for people who have had experience running previous screen businesses to apply with a new venture in mind, something that is just forming / brand new?

There is a little bit of ambiguity in that three year specification. We are looking for people with some experience in business, this can’t be your first (brand new) business venture. We’re looking for people who’ve got at least some experience under their belt.

If your purpose is to come here and think about a new business altogether, then that’s absolutely in frame.

Q. Will you be going over things like chain of title and contracts?

The focus of Strength in Numbers is on the underlying business, not on the projects. Chain of title, production contracts and similar contracts will not be covered. Contracts relating to the underlying business may be addressed during the programme, depending on the needs of the group as a whole.

Q. Is there a possibility that you would suggest someone apply for Rainmakers or Strength in Numbers based on their application if they applied for one and weren’t suitable but was suitable for the other?

Apply for both. Please be mindful both programmes have the same deadline. The applications will be going through separate selection processes with different selectors.

Q. As someone who is interested in both Strength In Numbers and Rainmakers Aotearoa is it possible to be chosen for both programmes?

It is it is possible to be chosen for both. If we genuinely think there’s a compelling reason being accepted for both programmes would be considered.

WEBINAR AVAILABLE TO WATCH ON YOUTUBE

Q. Can you give some examples of who mentors might be?

Lined up for the podcast we currently have Rainmakers such as Helen Bowden (Producer), Chloe Rickard (Jungle Entertainment), Sue Maslin (Producer).

We’re aiming big! Looking for Rainmakers as far up the tree we can get.

Q. Reading the brief it sounds pretty open ended.

Yes. Deliberately so. We’re not wanting to be too determinative about who is an appropriate mentee; this goes for your goals and ambitions and what you would want from your mentorship as well. I think anyone who kind of finds themselves needing answers to questions. We don’t really mind where you come from. It’s about your needs. And you know, whether you fit this and whether we can answer questions for you.
The same with the mentors: we’re interested in the people who are highly productive, highly successful practitioners as mentors. They can be in any role whatsoever. They might be an entertainment lawyer. They might be working at a funding agency, they might be a casting agent. Anyone who is contributing to the productivity of the industry is from our perspective, eligible to be a mentor, and the same in terms of mentees and same in terms of you as applicants.

Q. What does a co-designed approach look like?

Each mentoring program will be co-designed between us and you, and you (the mentee) and the mentor, depending on your needs and goals. The outcomes and milestone of the mentorship will not be specified in advance by us, we will negotiate these between all parties prior to commencement.

Q. Is the mentee able to choose their mentor?

You may suggest someone you think would be the right mentor, whether that person is available or interested is another question. We may take your suggestion into account when choosing your mentor.

Mentors are given the option of accepting or not accepting a proposed mentee. We can’t guarantee that even if a person were one of the one of the mentors, that they would be available to you.

You need to be open to the possibility that we might have a different idea of who would be the right mentor for you and obviously would discuss that with you too.

Q. What do you most want to hear in the one paragraph biography about us as screen practitioners, considering it’s only up to 150 words, you’re asking about goals, work history separately.

We understand 150 words is short, but you may attach supplementary information to support your application.

We want to get a sense of who you are.

The application is broken into 4 parts.

Biography – Who you are (bio) – Why filmmaking? Why you do what you do– why this role, or current slate of projects? Why are you in the film industry, why have you chosen this as your career?

Why Rainmakers will benefit you – include goals, creative and or business ambitions. What do you want to achieve? Why are you ready?
E.g. I want to be a successful producer, producing all NZ short films. I have xyz experience and I am ready for the next step. Opportunity will push me out of my comfort zone. This is where I see my future going. I’m excited to surround myself with a cohort of likeminded individuals

What will you get out of being mentored by a Rainmaker?
E.g. I have worked on many independent projects up to this date so the opportunity to learn from and be guided by a Rainmaker would be beneficial. I want to implement new ways of working. I am implementing job-sharing in my current role and want to pursue this further.
Additional attachment – Supplementary info about you, project links, Full C.V

Q. Is Rainmakers similar to the FilmUp programme?

Both programmes have mentorship at their heart. Rainmakers runs for a longer period, and may be career based, personal creative development, or project based, this programme is led by David Court, and the seminars will cover different topics, you may also be from any part of the industry. Please refer to the eligibility criteria.

FilmUp is project based and only open to writers, directors and producers.

Q. Given that Rainmakers is open to screen-affiliated applicants (e.g. entertainment lawyers, regional film officers, etc.), how does this affect the main focus around building innovative and new content systems? These people might want to create a different sort of screen-related business or system…

We are all a part of the screen industry, yes we may use different systems but all parts of the wheel can work together and learn from each other. We’re interested in the question what does the screen content business of the future look like? The answers may come from anyone, not necessarily from producers or from writers. That’s why we’re throwing the thing open to reflect and recognise that, the sort of thinking we require to find innovative, workable new solutions to the changing environment we live in – might come from anyone.

If you look at any knowledge industry, but this is particularly true for the film industry, what you’ll see is there’s a relatively small number of people who are highly productive, who produce and generate much of the work. We’re interested in those people, and we don’t really care what role they’re in.

E.g. an entertainment lawyer, someone who’s, you know, advised on 100 projects. What’s relevant to you is that all of those people contribute to the success of the business, contribute to its output, continue to contribute to its productivity. So there’s no reason in my mind to distinguish between them.

At the heart of this is a matching process. Sometimes those matches might be with someone within your normal worldview and your normal way of doing things. But actually, there might be a suggestion that someone outside of that might really unlock something for you.

Q. How many people will you take into the Rainmakers Aotearoa program?

Q. Aside from the mentoring, it seems one of the key benefits of the programme will be the network that is built across the cohort here and in Australia. Is there any collaborative element within the programme (between the mentees) to further foster this network building?

Yes, this will happen during the seminars, in person and online. When you come together with the other mentees and with some of the mentors from time to time in the program, there will be the opportunity to really connect with those people.

Script to Screen also have a number of different programs, anyone that’s involved in our programs become part of the alumni community where there are other opportunities for support and connection with others.

Q. I have a number of different roles in the film industry – actor, writer, director, producer. Do I have to focus on one of these areas for my application or can I reference all of them?

Mention them all

Q. What do you mean by Connection in reference the characteristics of an ideal applicant?

A part of the programme is centred around building your connections in the industry with likeminded individuals, with the small number of people generating volumes of work. We want to see that you are either already connected or willing to make connections with others. **** Expanded From Webinar

Q. Can you apply as a creative partnership?

You are welcome to apply as a creative partnership. If you can write a compelling case your application will still be considered for this programme. We cannot guarantee a mentor will accept as it could change the dynamic of the mentorship.

Q. What’s an example of a goal an applicant wants to work towards?

The more specific you are, the easier it is for us to identify a mentor who can help you and for the mentor to engage with you. We understand that these goals might change and develop over time.

Goals might be:

Starting a new business.
Adopting some new methodology. E.g. You’ve got a brilliant idea about how to finance films differently. You might want a mentor to help you develop that thinking.

Apply for both. Please be mindful both programmes have the same deadline. The applications will be going through separate selection processes with different selectors.

Q. Can you be matched with a mentor in either New Zealand or Australia?

Yes

Q. As someone who is interested in both Strength In Numbers and Rainmakers Aotearoa is it possible to be chosen for both programmes?

It is it is possible to be chosen for both. If we genuinely think there’s a compelling reason being accepted for both programmes would be considered.

Q. Is the focus on changing the way screen content is made? Or is it about developing the careers of the mentees? Or both?

The focus fundamentally is about developing the careers of the mentees. Alongside that the podcast series will focus on the current climate and question “if you were starting again now what would you do?” **** Answer clarified from webinar.

Q. Is there funding to support travel for the in-person seminars?

There is funding available to support travel to the seminars in Tāmaki Makaurau/Auckland and Australia.

Script to Screen is presenting a 1-day adult scriptwriting workshop in Kerikeri. This is a rare opportunity for local story tellers to work with renowned writer, director and author, Michael Bennett (The Gone, In Dark Places). The morning will be spent delving into character, story structure, key moments and writing fundamentals and then in the afternoon you will develop your own original story idea and write a scene.

Not to be missed, this is a practical and interactive workshop that will help you find the momentum you need to initiate a screen story, or move your project forward. If you’re a new or emerging filmmaker or a local creative wanting to reinvigorate a screen idea or explore writing for film and television, this workshop is for you.

When and where:
Sunday 14 July
9am – 5pm

Turner Centre, 43 Cobham Road, Kerikeri 0230
Venue is wheelchair accessible

Cost:
$25 including GST and booking fee. Tickets 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.

We are also running a Youth school holiday workshop. Check it out using the link below.

Script to Screen presents a free four-day filmmaking workshop in the July school holidays for 14 – 18 year olds.

This is an outstanding opportunity for the next generation of filmmakers to develop skills and learn about the fundamentals of crafting a story idea, writing a script, and acting for camera. The aim of the workshop is to foster filmmaking talent in the Far North region and to provide an opportunity for young creatives to learn new skills and level up without having to travel outside of the region. No experience or prior knowledge of filmmaking is necessary. We encourage anyone who has an interest in telling stories for the screen and acting to apply.

The programme will be taught by Michael Bennett (storytelling and screenwriting) and Jamie Irvine (storytelling and acting).

When and where:
Monday 15th July – Thursday 18th July
9am – 3pm each day

Turner Centre, 43 Cobham Road, Kerikeri 0230

The venue is wheelchair accessible

Programme Structure:
Day 1 – Developing a story idea and screenwriting principles
Day 2 – Writing a scene
Day 3 – Storytelling and acting
Day 4 – Taping the scenes, debrief and discussion.

Cost: The workshop is free, please register via Humanitix as spaces are limited

Morning tea, lunch and afternoon tea are provided. However, if you have special dietary requirements (allergies, gluten free, dairy free, keto, paleo, etc) please bring food with you.

ABOUT PROGRAMME MENTORS

JAMIE IRVINE

As an Actor, Director and Acting Coach Jamie Irvine has worked in Australia, Los Angeles, New York and New Zealand. Jamie is a NIDA acting graduate and continued his study with Susan Batson and at the Stella Adler Studio in NYC. Over twenty years, he has taught acting at NIDA, Actors Centre Australia, Theatre of Arts in Hollywood, South Seas Film School and various other institutions. Acting Credits include Sweet Tooth, Tinā, Power Rangers: Dino Fury, Shortland St, Underbelly:Land of the Long Green Cloud, Black Hands, Westside, Home and Away, Anzac Girls and The Brokenwood Mysteries. Jamie has also directed across several mediums and in 2022 he directed NZ on Air funded webseries Here if you Need. Jamie joined Script to Screen in January 2023, where he currently works as Programme Manager.

This workshop is made possible thanks to generous support from Foundation North and White Studios.

We are also running an adult workshop. Check it out using the link below.

Calling all Far North filmmakers and creatives!!!
In July 2024, we are excited to bring two outstanding workshops to Kerikeri led by writer and director Michael Bennett (The Gone, In Dark Places). A four-day school holiday workshop for youth aged 14-18, and a one-day adult scriptwriting workshop.

Joining Michael for the Youth Workshop will be actor (Shortland Street, The Brokenwood Mysteries), director and acting coach, Jamie Irvine.
This is a great opportunity for you to learn new skills and share your stories. So, book your place and tell your friends and whanau. These workshops are not to be missed.

“The projects that Script to Screen does and the reason I’m so gung-ho enthusiastic about them is; it’s about accessing people whose stories just don’t make it on screen. It’s giving people skills to tell stories for the screen. Giving new voices and new stories the potential to become films” – Michael Bennett

Free Youth Workshop – 4 days

Monday 15 – Thursday 18 July
Turner Centre, 43 Cobham Road, Kerikeri 0230

Develop skills and learn about the fundamentals of crafting a story idea, writing a script and acting for camera. No experience or prior knowledge of filmmaking is necessary. We encourage anyone who has an interest in writing, filmmaking, and acting to apply. For ages 14 – 18.

Adult Workshop – 1 day

Sunday 14 July
Turner Centre, 43 Cobham Road, Kerikeri 0230

The morning will be spent delving into character, story structure, key moments and writing fundamentals. In the afternoon, you will develop your own original story idea and write a scene. This workshop is suitable for new and emerging filmmakers, local creatives wanting to reinvigorate a screen idea or anyone wanting to explore writing for film and television.

ABOUT PROGRAMME MENTORS

These workshops are made possible thanks to generous support from Foundation North.

Eligibility Criteria

Q: Where can we seek external (objective) advice on whether we are emerging or mid-career filmmakers?
A: As this programme is funded by NZFC, we are using their career level descriptions. You can contact info@script-to-screen.co.nz to seek more nuanced advice.

Q: Does living in central Otago count?
A: You must have your current permanent residence in either Otago or Southland to take part in Southern Pilots.

Q: Do you have to have a director attached? Can it be Writer / Producer duo?
A: The team does not have to have a director attached, it can be a Writer and Producer duo.

Q: Do you have to have a producer attached? Can it be Writer / Director duo?
A: The team must have a producer attached.

Q: Does the cultural consultant need to be based in the area?
A: Only the key team members Producer, Writer and Director need to be based in the Otago Southland Region. The cultural consultant does not need to be based in the area, but if there is a suitable consultant in the region it would be good to use them.

Q: We are working on a series that must be shot in Dunedin but only 1 of the team is Otago based, the others Wellington / Auckland but no longer live in the city. Does that mean we are not eligible for this initiative?
A: Correct, the Wellington / Auckland team members are not living in Otago or Southland right now, so this teams project would not be eligible. A priority of the programme is to foster and develop local talent living in Otago or Southland.

Q: Does the project need to be set / shot in Otago and/or Southland?
A: No, but preference will be given to projects either set in Otago and/or Southland or will be shot in Otago and/or Southland.

Project Content/Duration

Q: Is a one-hour drama suitable?
A: There is no minimum or maximum duration for the Southern Pilots projects, but duration should suit the experience level of the team and meet the requirements of the intended platform.

Q: The application called for 5-10 pages of sample script. Can a full episode be given?
A: The selectors will only be reading 5 pages for a series 30mins or less, and 10 pages for series greater than 30mins.

Q: Are there any genres that are a focus for this initiative, e.g. comedy, horror, etc.
A: All genres will be considered.

Q: Are selectors looking for any specific content? E.g. highlighting rural NZ issues, as an example. Or is it anything goes?
A: The selectors have no preconceived ideas about what they want. They will be looking for the best ideas. Preference will be given to projects that are set in Otago and/or Southland or will be shot in Otago and/or Southland.

Q: Are there any objections to target audience type with content containing drug use/nudity/expletives
A: No, as long as it is suitable for, and can be found by the proposed audience.

Q: Will animated series be considered?
A: Yes, animated series will be considered. Information about where the animation would take place will be an important part of an application for animated series.