Q & A – WRITING COMPELLING APPLICATIONS

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:

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

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

As you are putting together the various pieces of the puzzle of your finance plan, keep in mind it is always hard to get the balance right between creative and financial.
Seek advice (if you feel you need it) when you are pulling together different types of funding, talk to people who have done it before or the funders prior, as they may be able to help you avoid pitfalls
If you are going to work in the co-production space, get to know the rules and requirements prior to doing this

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:

AI, and always double-check information and the sources
Look at Press Releases and Annual Reporting Documents from all the funders
Going to industry events to connect with people to check what others know about funding and what the focus is. Seek more than one opinion when doing this.

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:

The director may help with Tone, Style, Logline and Synopsis
Writer/director doing “creative” (script, treatment, mood board etc) but then reviewed by producer who sends out the application ideally.
The producer should be handling budget, schedule, audience and any biz stuff.
The level of involvement a director or creative has in the proposal and funding application writing can vary depending on the team and their skillsets.
Although not always the case, producers tend to focus on budget, logistics, market and the how it will be made. The creatives (writer, director) focus on the vision, the script/ story, the tone and style of the project.

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:

Being authentic and connected to where the project is being made is important
If you are not from the place, allow plenty of time for meaningful engagement with those who are, so you can create the right type of partnerships and relationships to ensure your project is mutually beneficial to all parties
Being realistic and allowing for what it really takes to make projects in the place you are proposing. This can mean allowing specific budget to be spent on different aspects of your production due to the requirements of the location.

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:

Get on the mailing list of all the industry guilds and organisations
Recommend to your film office the types of workshops and training you want in your region/ city
Contact us at Script to Screen to see if we already have a programme that might be a good fit, or if we are able to develop one and secure funding for it.

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:

Be clear about why you are approaching the potential collaborator. Do you research top make sure you are connecting with the right people for you.
Be respectful of what you are asking – please do not approach someone days before a funding deadline to get them on board.
Be yourself and open to other people’s creativity and perceptive, afterall, most people in the industry are drawn to it because they are creative and want to tell screen stories, so let them in.

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:

Check the requirements on the website for the fund you are applying for
If still unsure, talk to someone at Te Māngai Pāho or another producer who has previously received their funding

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?

Q: How do you know when NOT to put in a proposal?

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?

Q: How to budget the producer’s work on a project?

Context: Financing is not my wheelhouse,

Q: How would you attach big named actors to your project in order to strengthen your application?

Q: Do you include marketing plans in your proposals? For example socials, or advertising or fan community building plans

Q: What are some common mistakes for novices seen in pitching documents?

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?

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 30^th 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:

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

This Script to Screen TALKS is made possible thanks to
New Zealand Film Commission.

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

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.

Spend a day with Pip Hall (One Lane Bridge, Jonah, Why Does Love?) as she guides participants through her process when developing story ideas for TV series.

Throughout the day Pip will look at character and character function, theme and story engine as well as constructing an outstanding pilot script and pitch document. This workshop will be craft based and combines practical elements, presented content, group work, discussion and case studies.

Promising to be both interactive and engaging, this is a terrific opportunity to spend a day focusing on your craft as a writer. You’ll be working on your ideas as well as taking notes, so bring your notepad or preferred writing device.

When: 9am – 5pm, Saturday 4th November 2023
Where:H D Skinner Annex, 361 Great King Street North, North Dunedin, Dunedin 9016. The room for the workshop is upstairs.
Wheelchair access is available. If you require special assistance, please let us know.

Cost: General Admission $30 (incl. GST & Booking Fee) via Humanitix.

Who is it for? Anyone 17+ currently working on a story idea for the screen. This workshop would be particularly beneficial for those writing for TV Series and will be a mix of teaching and writing exercises.

What to bring? Please bring a new or existing idea to work on. Also a notebook & pen or note-taking device, a water bottle and your lunch. Script to Screen will provide snacks, tea and coffee. There are café’s in the area if you prefer to buy your lunch.

Travel Grants Available for residents of Otago and Southland: Film Otago Southland will provide up to 5 travel grants of up to $100 each for participants who reside outside of the Dunedin City Council boundaries and have their permanent residence in the Otago or Southland region. The grants are allocated on a first-in basis. Please get in touch with Film Otago Southland Coordinator Stefan Roesch via email to secure your travel grant: stefan.roesch@dcc.govt.nz

ABOUT PIP HALL

Pip Hall is an award-winning scriptwriter and playwright. She works extensively in television as a creator, writer, developer, story liner, script consultant and executive producer. She has written over forty million dollars’ worth of content including three series of One Lane Bridge, Why Does Love, Runaway Millionairesand The Brokenwood Mysteries.

“I love telling stories because I want to share the human condition, so that we know we are not alone in this big, crazy world; so we can celebrate our similarities and our differences.” – Pip Hall

This workshop is made possible with the support of the Dunedin City Creative Communities Scheme, Dunedin City Council, Film Otago Southland, Film Dunedin and New Zealand Film Commission.

Spend a day with James Napier Robertson (The Dark Horse, Whina) as he guides participants through his approach to screenwriting and developing story ideas for film.

Throughout the day James will look at what makes a great story, discuss the stages of development, the fundamentals of character creation and connecting character to story. He’ll also explore structure and how this can continue to take shape throughout development and how all these elements combine and contribute to ‘the larger truth’ of your story. James will also devote some time to talk about career progression and approaches to developing your own work.

Promising to be both interactive and engaging, this is a terrific opportunity to spend a day focusing on your craft as a writer. Bring a notebook or device and be ready to take notes.

Who is it for: Anyone 17+ with a story idea they want to develop into a film script.

When: Saturday 21st October, 9am – 5pm
Where: Grey Lynn Library Hall, 474 Great North Road, Grey Lynn, Auckland 1021
Wheelchair access is available. If you require special assistance, please let us know.

Cost: General Admission $28.00 (incl. GST) via Humanitix.

What to bring: Notebook & pen or note-taking device, water bottle and lunch. Snacks, tea and coffee will be provided. 1hr lunch break – cafes within walking distance.

Parking: Limited parking is available, allow adequate time to find a park; using public transport is recommended.

Post Workshop: After the workshop, you are invited to relocate (location TBC) to socialise. Snacks are provided by Script to Screen, and buy your own drinks.

ABOUT JAMES NAPIER ROBERTSON

Headshot of James Napier Robertson (Screenwriter and Director)

James Napier Robertson is a New Zealand filmmaker. His 2014 film The Dark Horse was nominated for over 50 awards around the world and won over 30, Variety stating it “exceptional…the most deserving cinematic export to emerge from New Zealand in years” and the RNZ Film Review declaring it “one of the greatest New Zealand films ever made.” The Dark Horse won Best Picture, Best Director, Best Screenplay, Best Actor, Best Supporting Actor and Best Score at the 2014 New Zealand Film Awards. It was released theatrically in the United States in 2016, where it was presented by James Cameron, and in late 2016 was formally screened at the White House for then-President Barack Obama and First Lady Michelle Obama. In 2018, Napier Robertson wrote and directed two episodes of Australian mini-series Romper Stomper, which won Most Outstanding Miniseries at the 2018 Logie Awards. In 2019 he worked on BBC mini-series The Luminaries, and in 2020 worked on Dame Whina Cooper biopic, Whina. His latest film, Joika, a ballet drama set in Russia starring Talia Ryder and Diane Kruger, premiered as the Closing Film for the prestigious Festival du cinéma Américain de Deauville in France and is set to be released in theatres globally in early 2024.

This workshop is made possible thanks to generous support from Creative Communities and New Zealand Film Commission

Whether you’re new to filmmaking or have worked in the industry for a while and aspire to tell your stories on the screen, this workshop will guide you in your next steps.

Fresh from the release of Far North, David White will be visiting Queenstown for this one-off workshop in September. Learn how to take your film idea through development, from a 1-pager to a dynamic and compelling script. David will draw on his experience, sharing and discussing how one of his projects went from the initial idea, was then developed into a short film, and subsequently reworked into a feature. He will also discuss the importance of collaboration and how to attract the right creative and producing partners to your project.

Come along to progress your feature or short film project. The passion that drives you to create will be invigorated, and you will leave with new knowledge and ideas to further develop your stories.

Testimony David White Workshop 2021

“His advice and insights were so practical and specific and spoke to the way the industry operates beyond just what works on the page and how to transfer it to the screen. I feel better equipped to approach my work.”

“Unique insight into the filmmaking process.”

Who is it for:
Anyone interested in developing their short or feature film project

When & Where:
Saturday 16th September 2023
9:00am – 5:00pm – Workshop

Puawai at Te Atamira
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: General Admission $25 (incl. GST) via Humantix

What to Bring: Please bring a pen, paper. Snacks, tea and coffee will be provided. Please bring your own lunch.

ABOUT DAVID WHITE

David White – Director, Producer, Writer.

David White has produced and directed a substantial body of documentary and drama work that has enjoyed considerable national and international success, among them Meat, Shihad: Beautiful Machine, I Kill, Little Criminals, The Cleanest Pig and This Town. His work has screened at over 50 film festivals including Sundance, AFI, SXSW, SilverDocs, Tribeca, MIFF, TRUE/FALSE, Clermont Ferrand and has been commissioned and screened on networks such as BBC, Paramount +, Sky, Sundance Now, TVNZ and PRIME TV.

He was the first New Zealander to be shortlisted for a Cinema Eye Honor (documentary) for his film I Kill. His documentary Little Criminals (2015) aired on PRIME TV to strong ratings and critical acclaim along with of Decades In Colour (2017 – PRIME TV) for Greenstone.

Meat(2017) Executive Produced by Phil Fairclough (Grizzly Man / Cave of Forgotten Dreams) opened to 4 star reviews and sell out audiences throughout NZ and was released on multiple NZME platforms. MEAT is sold by MPI Media Group and has sold globally.
David’s (writer/director/producer) debut comedy film This Town (in association with South Pacific Pictures) staring Robyn Malcolm, Rima Te Wiata, and himself as the main character was both number one at the NZ theatrical box office for 21days straight and was critically acclaimed. Sales by FILM SALES COMPANY in New York.
This Town was developed at the prestigious Venice Biennale College – Cinema of which only 12 teams are selected from a world wide call each year.

He has just a 6part True Crime mini series – Far North, which he created, wrote, directed and is an Executive Producer. Staring Robyn Malcolm and Temerua Morrison, it has already sold to New Zealand, Australia and North America. Rest of World Sales will be handled by All3Media.
David is represented by Stacey Testro International and CAA.

This workshop is presented by Script to Screen and supported by Film Otago Southland,
Queenstown Lakes District Council Film Office, Central Lakes Art Support Scheme,
Queenstown Lakes Council Creative Communities.