00:01:15:01 - 00:01:40:14 Speaker 2 I, the, executive director here at script the screen. And it's my privilege to be hosting this, so it's not around. So I'm off and very excited to see. I think we've got 30 something people coming in, and we've got some 80 people signed up, so we might end up with quite a few coming in as we continue the the conversation. 00:01:40:16 - 00:01:56:05 Speaker 2 So thank you for joining us for this week. It really is just a chance for us to connect with you and to get some information out around the film, up the kaupapa itself, why we do it or what it is. And for you to ask any questions you like. So I'm going to hopefully not, talk too much. 00:01:56:05 - 00:02:19:08 Speaker 2 I'll talk at the beginning and give you a bit of an overview. And then really it is a Q&A session. So it's, you know, you're the stars of the show tonight. We really want to hear from you in terms of any questions have got. There's never a silly question. Of course. Anything that is niggling at you or you're not quite sure, you know, ask it because, you know, you might not be the only one in the room, wanting to know that kind of information. 00:02:19:10 - 00:02:38:11 Speaker 2 So first off, just a show of hands or a thumb. You are here for the film up. Hui and script a string? Yes. Good. No one's here for anything else. That's good, because I can't talk about anything else. I know there's another event going on tonight, so I don't want to get confused. So I said, my name is Dale, and, we've got Monique in the background. 00:02:38:11 - 00:02:41:11 Speaker 2 She's here running things, so it'll run there. This is. 00:02:41:11 - 00:02:49:24 Speaker 2 So it's going to run really smoothly. What we thought we might do to start off with is just start with a quick poll to find out who's on on the on the call. 00:02:49:24 - 00:03:03:07 Speaker 2 Yep. Okay. So what we want to know here, this is we want to know, yeah. If you're a writer director, producer because it's open to obviously run a direct to producers, you might be a writer slash director, right? A producer, right? Right. A slasher, producer and director. 00:03:03:07 - 00:03:31:23 Speaker 2 Producer. You can be anything you want. Is that the first part of the bowl? Oh, there's more to the puzzle. The second one is, have you applied before? And the third one is, are you just industry experience rustling? You don't have to reveal yourself. You know, like me, you'd put kind of 100 plus years. But, you know, just to get a sense so we can, we can get a sense of who's in the room and maybe have a tailor, but also, we can think about that as we're going forward after the story as well. 00:03:32:09 - 00:03:38:23 Speaker 2 So more writers and directors, but actually a good smattering of writer director slash producer. Cool. 00:03:41:12 - 00:03:58:02 Speaker 2 Only one or. Yeah, only ones applied before. So now it's a lot of people haven't applied. Great. And how many years. And it's a good range there. Yeah. And some people like me probably a hundred plus. Okay. Cool. Excellent. Well, lovely to meet you all again. And thank you for coming and taking this time. Are you busy? 00:03:58:04 - 00:04:12:19 Speaker 2 Busy lives. Okay. Well, what I'm going to do is give a quick overview of what film offers. I'm not going to repeat what's on on the website, because you can obviously go there, but I'm just going to give you some highlights of what the program is and how it kind of operates for script to screen script running. 00:04:12:19 - 00:04:32:03 Speaker 2 Now, I think it's into it's 11th year, 11th or 12th year. So it's one of our core programs, that we've been running for a number of years. It didn't run last year. We ran Rainmakers instead, which was, another type of mentorship program which was slightly differently focused. It wasn't as feature film focused. It was much broader than that. 00:04:32:05 - 00:04:49:01 Speaker 2 So Film Up, is a mentorship program at its heart. So it is a very, bespoke 1 to 1 mentorship. There's eight, a people that are chosen. That's how many we can we can kind of fund. And this is a 1 to 1 mentorship. But there are group activities throughout the process throughout that eight months or so. 00:04:49:03 - 00:05:06:20 Speaker 2 So it's very much feature film focused and is funded by the, to, to move to Tonga, the News and Film Commission. So it's not series, it's not web series, not TV series, it's not other forms of, content. It is feature film, and it can be feature documentary or feature drama, or animation or other other genres. 00:05:06:20 - 00:05:29:02 Speaker 2 But, it is the feature film form, as it, it's this eight, eight, places available. And as I also said, it's been running for, yeah, 11 or 12 years. And what we've seen, we've done some kind of steps on it and looked at it, it does seem to be heavily right. A director focused, although we've had a number of producers do it and get a lot of traction out of. 00:05:29:02 - 00:05:48:06 Speaker 2 So it is a, open to writers, writer, directors, directors, producers and every mix of those, three roles. But in the recent two years, I just had a look at this afternoon, the rest two years, actually, it was predominately writers, which is interesting. We did have the odd director come in three years ago. 00:05:48:08 - 00:06:16:23 Speaker 2 Sorry. Producer come in three years ago. What we have seen is in the last 11 years, 11 iterations, 22 debut feature films have followed in the subsequent years after they've done so much. So those writers or writer directors have done some up. And then a number of years later that night, the first feature, now some of those features would have come through film up as the project, and some of them wouldn't have it wouldn't have been that project, but that it's it seems to indicate to me that the film up process was useful in their journey. 00:06:17:00 - 00:06:34:23 Speaker 2 And so that's probably why it continues to get funded from, the Film Commission, because there's an outcome that they really want, which is people making it films, not just first, but, you know, they feature films. You'll notice from the website that you've got about three weeks, before the deadline. It's the 10th of November at 1 p.m.. 00:06:34:23 - 00:06:50:21 Speaker 2 We always have a 1 p.m. deadline so we can get to processing the, applications on the day and then get them out to our readers the next day or the day after. As quickly in that week as we can. And then. Yeah, by the, by the early December, we'll have a selection. It doesn't start until kind of April. 00:06:50:23 - 00:07:07:07 Speaker 2 We're thinking maybe late March, early April time and runs until November next year, but we thought it'd be good to get people kind of on board and so they can, you know, book their time off or whatever it is for the in-person hub days and things like that in plenty of time. So but it doesn't start in April. 00:07:07:09 - 00:07:27:21 Speaker 2 Is it open to writer director producers? And, the other view is there's 20 hours of mentorship with funding. So there's 1 to 1 mentorship with a mentor. The mentor is very bespoke, as I mentioned before. So we work with you to find the right person or people. If it's not one person, but it's that 20 hours we've got in the budget. 00:07:27:22 - 00:07:50:24 Speaker 2 And these, yeah, can range from people within the actual output. So say you're a writer, an actual, you know, a writer, someone looking at that level. It could be someone as a story editor, or maybe other people within the industry that you're looking for. Advice from and support. Although it's a mentorship, that is focused on you and your development and you've got a project. 00:07:50:24 - 00:08:08:24 Speaker 2 It's not a project. Mentorship as such. It's more wider than that in terms of supporting your craft and your hopefully your career as well. Yes, the project we hope will be progressing through this mentorship, but the project is very much a vehicle for the mentorship. We're not looking for a project outcome. We don't need another draft at the end of it. 00:08:09:04 - 00:08:29:12 Speaker 2 We don't need, yeah, another vision of it or it doesn't have to have moved into getting funding or anything like that. It's great if it does, of course, because that's helping you. But sometimes we find I find the mentorships, the project still stays cool, but actually there's lots of other gold that happens outside of that and actually helps your career. 00:08:29:14 - 00:08:52:08 Speaker 2 So yeah, there's 20 hours of 1 to 1 mentorship. There's these five, hubs that we have across those that, eight months. And, three of them will be in person. And two of them will be online. And the in-person ones at the moment, we anticipate are the two days. And so people outside of Auckland can, you know, maybe it's one night accommodation, which we have, and we'll cover that, of course. 00:08:52:10 - 00:09:09:23 Speaker 2 So normally we've had them on the Friday and the Saturday. So really it's only one day of work if, if, if that's what you need to do. And then you get your Saturday. So your five hubs, the online ones, tend to be a half day, mixed into a full day. But, online is pretty tough on a full day. 00:09:09:23 - 00:09:31:20 Speaker 2 So we tend to keep those, a bit shorter. This year, for the first time, we haven't had this before. On top of the mentorship and the hub days where, fortunate to have a little bit more put in the pot. So we're going to allocate up to $2,000 per person within the hub. So the eight people and that can be used for additional support. 00:09:31:22 - 00:09:46:08 Speaker 2 And will agree it, you know what what you want to spend it on before you do. And then I'll figure you can you can maybe, I don't know, have the workshop with a group of actors, or you could hire someone else, to give you, you know, in-depth script notes on, on a feature film or whatever it might be. 00:09:46:12 - 00:10:10:02 Speaker 2 So maybe your mentor's not. That's not their skill set. You might want, a script development kind of service kind of, thing. So, yeah, looking at that kind of $2,000 being spent on something else that'll help you, develop, but your project and your, skills, we'll cover, obviously, all the accommodation and travel that you need if you're outside of Auckland for the in-person days, and any other access needs you might have. 00:10:10:04 - 00:10:33:20 Speaker 2 We can we can address those. And then, like all script to screen programs, we have a lot of wraparound support. Like, we have a team here that can, you know, be here for phone calls and feedback and all sorts of things in between the hubs and the mentorship. And really, our role is, is to look after you through this process to make sure the mentorships working the way you want it to, make adjustments where possible if needed. 00:10:33:22 - 00:10:54:06 Speaker 2 But also be a sounding board for you, your project and your and your process, and progress, as you know, and then following the program, all alumni from our programs, can access the AFI program, which is a way in which, alumni can support each other. It's it's very, and an informal and long ways. 00:10:54:08 - 00:11:11:20 Speaker 2 You you, sign up to it if you want to, to offer support to others or to receive support. And then, you can reach out to each other and, and get that support. We just connect you up so there's no funding involved in that space. It's just a way of asking each other after programs, which works really well. 00:11:11:22 - 00:11:32:21 Speaker 2 So that's film up in a nutshell. I thought I'd just add a little bit more. So the hub days, as I said this, we're planning on three in-person hub days in Auckland. Actually, two of them are two days, and one of them is one day. And then, we'll have those two online sessions, which will probably be, as a half day, as I said, we have got dates out there. 00:11:32:21 - 00:11:49:18 Speaker 2 They are still to be confirmed, of course. But they're an indicator for you that it's around that date and probably will be that date. So if there's work or other life kind of things, you can start thinking about that. Once we make selections by the end of the year, which is why we've published them. They'll be even sooner by the end of the year. 00:11:49:20 - 00:12:11:11 Speaker 2 The only reason I say they're not totally lockdown. One we're likely to do we do a big screen symposium and we're likely to the big screen symposium again next year. And we thought that middle hub day, that one, the third hub, might align with being in and around the big screen symposium. So once again, once that gets locked, we can lock that actual date. 00:12:11:13 - 00:12:29:13 Speaker 2 But I was just looking at the, content of the hub days, earlier today in prep for this and I, I saw that we used to do a lot. We've done things like in the past where we've had a hub day and then that night, you know, two day hub, and we've done the first day, and then we've all gone to a premiere of a film or gone to an industry event. 00:12:29:15 - 00:12:46:16 Speaker 2 And so I want to keep that option open as well as these as we go. If there's an opportunity there, when you can gain some more value from something else that's going on, it's great to have a little bit of flexibility in that, but recognize that as soon as we can lock down dates, the better for all our busy lives. 00:12:46:18 - 00:12:55:06 Speaker 2 In terms of the hubs themselves, just to give a bit of a sense of the content of those. So they do vary depending on the the cohort, as you can imagine. 00:12:55:08 - 00:12:56:00 Speaker 1 You know, if you have a. 00:12:56:01 - 00:13:23:19 Speaker 2 Majority writers or producers or directors, you're going to kind of lean it in one way or the other. But just to give you a bit of an idea, most of the hubs, certainly the earlier ones, and we have participant, update on their project and the mentorship. So how's it going now? Maybe a presentation about their project or with the projects out at the moment, and then maybe in in another hub or two hubs time, you might do another update on that, which is really useful for the cohort to hear from each other about where they're going. 00:13:23:19 - 00:13:51:15 Speaker 2 And maybe some of the challenges they are experiencing. I always find them with all our kaupapa, the hub, the cohort is actually really gold for people that that sense of support for each other and, and advice and guidance from your peers is really, really useful. So so we introduce that and we bring that into the hub most for most of the hubs, we obviously have had things like story development workshops, masterclasses, deep story, development kind of processes. 00:13:51:17 - 00:14:18:06 Speaker 2 We've had workshops or masterclasses on sessions on screen playing the screenplay language, you know, the way in which screenplays are written, you know, demystifying some of that because that can be a bit of a mystery sometimes. And then we've had we have guest speakers and they can speak on all sorts of subjects. And in the last two hubs, because we obviously didn't write last year, but the last two hubs, we did things like editing music and working for, working with composers, cinematography. 00:14:18:08 - 00:14:37:08 Speaker 2 We did legal, the music rights that oh, just not that, you know, catches everyone out by putting a, an amazing song in the opening scene of your film and you know, so we talk about that, directing feature films often bringing in, especially if we've got a group of people who haven't made the first feature, bringing in pushed on feature film directors and talking through the process. 00:14:37:08 - 00:15:00:13 Speaker 2 And and it's a closed shop. It's very much Chatham House rule. So it's not recorded. And, you know, people can talk honestly, which I think is gold. Working with actors sessions like that, we can, with distributors and other partners, key players. And as I said before, we've also managed to, attend events or attend premieres and things like that and support other other kaupapa, which has been great. 00:15:00:15 - 00:15:05:06 Speaker 2 So that's kind of the overview. I wasn't took very much. I've sort of 17 minutes. I need. 00:15:05:06 - 00:15:06:14 Speaker 1 To stop. 00:15:06:16 - 00:15:25:10 Speaker 2 So the final thing is everyone always wonders, what makes a successful application or, you know, what are you looking for? And the truth is, I'm not sure you know what you're looking for until you read it. And then you know how. That's what I was looking for today. So. But for film. Ha, a film up. 00:15:25:10 - 00:15:41:21 Speaker 2 It's very much, as I said, feature film focused. And like most of our programs, story camp as well, it really is a mix of the voice of the artist, the right of the director, the producer, the creative. You're all creative people. So it's your voice. It's what you want to say and how you want to say it. 00:15:41:21 - 00:16:11:05 Speaker 2 Your unique take on the world or angle on the world and the project itself, you know, and is it captivating? Is interesting. Is it does it align with the the person I'm reading about? And then we look at things like previous work and where you're at in your journey and specifically to film up. It's, is this the right kaupapa for you, where you are and where you want to get to with this project and with your, you know, your career journey and, can do we think it's a good fit for you? 00:16:11:07 - 00:16:34:07 Speaker 2 In terms of, of where you're kind of pitching yourself, what you want to get out of it, the type of mentor you want. We do ask you to identify the mentor, our all the mentors. I was talking to someone just yesterday about this, and it's not the specifics around that person. That's. I mean, there are specifics around certain people that when you mention them, they give us great ideas about the type of person you're, you're, wanting to work with. 00:16:34:13 - 00:16:55:11 Speaker 2 And so that's why it's good to give us an idea of, you know, a few people, actually, these are the types of mentors I'm interested in. You know, we all know that people want someone significant in the industry, half the time. But aiming for international people or aiming for someone who is really at the top of the tree just for the sake of it isn't really that helpful. 00:16:55:13 - 00:17:18:09 Speaker 2 Someone who's really their work and their the way in which they go about their mahi really speaks to you as an artist, I think is the most important thing. So yes, I mean, nearly everyone puts down Tiger at some point. You know, in one of the applications they come in to, script to screen. But what is it about that voice or that person's methodology, the way in which they go about it that speaks to you? 00:17:18:11 - 00:17:39:08 Speaker 2 Not just that you want access to, someone really high profile. It is hard to get high profile people. Of course. We're happy to reach out, if we feel like they're the appropriate people. We do, have mentors from New Zealand and Australia. Often. And further afield if we can. And as the mentorship has, doesn't have to be in person. 00:17:39:08 - 00:18:01:10 Speaker 2 It can be online. You know, it's certainly opened up a number of opportunities. And if we think about the last round, we did have, a well, definitely one, but I think two international, mentors and it went based in Ottawa. So yeah, it it's easy to facilitate that once we get them on board. You know, we're not we're not we're funded for it. 00:18:01:10 - 00:18:33:10 Speaker 2 But it's not a huge amount of money we get. So, it is, it's it's a creative exchange more than a financial exchange. They are paid, of course, for the time, which is why we say it's 20 hours, because we want to recognize that someone is giving 20 hours. But we often know that mentorships are a lot more than that in terms of the time away from the 1 to 1, but also the yeah, it often builds into friendships and and other things which we really value, and, and are thankful for the generosity of our industry to give back in that way. 00:18:33:12 - 00:18:51:20 Speaker 2 So I think, I think I've covered everything that I was meant to cover. May not, but, I'm sure your questions will tease things out. So why don't we go to questions now? You can either. I don't know if you can put your hand up or you can't put your hand up. Or you could write in the chat box. 00:18:51:20 - 00:18:53:19 Speaker 2 I'm just not open the chat box. I can see it. 00:18:53:19 - 00:19:09:00 Speaker 2 She says ask do you want us to use the full word count in each question box? I don't know what the word count is, but no, I know if you can say them three words rather than 100 words, then do it. Because remember, you know, brevity works. 00:19:09:02 - 00:19:25:14 Speaker 2 I, I think it's, you know, say what you have to say. Hopefully we haven't made it too short that you can't get everything, and you need to, what I find with all applications, actually, is I myself. You know, I do this all the time. I read all my answers, and I feel like I've answered. 00:19:25:16 - 00:19:43:22 Speaker 2 I'm repeating myself in the third or fourth answer, and I realize that I'm like a lot of creatives. We answer the why question all the time. Why are we doing this? Because that's our that's our emotions driver. But sometimes it's good to say, what are we doing? Or how we're doing or who we're doing it with or whatever, you know, some of the more practical stuff. 00:19:44:03 - 00:20:00:21 Speaker 2 So, if you feel like you're repeating yourself, you might have already answered the question and, go back and read the question and think about what what what it is we're asking. But no, you don't need to use the full word count. Absolutely not. It doesn't go against, you know, as long as we've got the full information, that's all that matters. 00:20:01:00 - 00:20:24:17 Speaker 2 Can you bluff? Story and so map? Yes. If you have already applied to story Camp, obviously, because it's closed. Yes. Yeah. There's no question. Story camp is all done by March. And then some up starts in April. So there is no actual physical clash. This is I mean, no idea. There's no there's nothing to stop you doing it. 00:20:24:19 - 00:20:45:03 Speaker 2 And we're more than open to it. If you got into story camp, would it affect so much? I mean, there are different panels, so we have industry panels that assess things. I sit on both, you know, obviously sit on them, but and we have different people. So if you ended up top of the tree on story camp, top of the tree on film up, then you'd, you'd, you'd get to do both. 00:20:45:05 - 00:21:04:15 Speaker 2 I guess from my point of view, I might actually, think, well, is it easier for someone to get, you know, because it's public money and you think, oh, you know, I do like to share it around. I do like people to have a go. I mean, there's only eight places on both of them, so I don't feel like. 00:21:04:17 - 00:21:05:15 Speaker 1 To think if. 00:21:05:20 - 00:21:21:04 Speaker 2 Someone gets two of them and someone else doesn't. But, genuinely, if it's in the top mix and there's no debate, then, of course. Yeah. We should stop aligning our programs. Really? So we should stake in them a bit more. But, 00:21:21:04 - 00:21:21:19 Speaker 2 But, yeah. 00:21:21:20 - 00:21:27:06 Speaker 2 No, you definitely eligible for both. Go for it. Go for. 00:21:27:08 - 00:21:48:05 Speaker 2 And I mean, I do say this genuinely apply for every single program you can every single bit of development money, any, any kind of development programs of any kind. There is so little and there's such little amounts of money that we available in New Zealand for development. We've got to go for everything. We've got to go. And my theory is you get 100% of a no for not applying. 00:21:48:05 - 00:22:11:21 Speaker 2 So you might still apply. You know, the odds the the numbers aren't great. You know it's competitive and contestable, but you're not going to get the if you don't apply. So I yeah I suggest everyone apply. I know I, I repeat to myself, I've said that when I'm reading currently 57 screenplays for story camp, but, you know, so it's a lot of work, but that's, that's by the by, we just can make sure. 00:22:11:21 - 00:22:19:07 Speaker 1 Readers, to my I got a hand up for, Oh, duh. You know. 00:22:19:09 - 00:22:40:01 Speaker 3 So I, I was wondering, I know with story Camp, there was like, a focus on kaupapa that were further along in development. If you're like somebody that maybe has a couple of projects on the banner, is there a moment and development that is like gives you the best chance? Like, is it better to have a later draft? 00:22:40:01 - 00:22:43:21 Speaker 3 Is it better to have a treatment that can, like be developed through mentorship? 00:22:43:23 - 00:23:18:02 Speaker 2 Very good question. I think in the past and what then and now, Film Up has catered for projects at any stage because it's bespoke to the individual and with a project set. So for example, we've had directors come in that are making feature films that are in the post and wanting mentorship, specifically in the area of working with editors, working with composers, working with, I guess, distributors on those final notes that are coming when you've already created the clay but not the film you know, so you've got the, the unformed, aspect of it. 00:23:18:04 - 00:23:40:05 Speaker 2 And so it's been interesting that end and then we've had people have come in. Yeah. Pre pre kind of first draft and it's been about the story development and the crafting and the writing of that story. What I would say is the individuals will need you know it's probably not for brand newbies. Not not that you have to have made a feature before. 00:23:40:05 - 00:24:07:22 Speaker 2 But, you know, in terms of the writing space, probably writers that, new to emerging may not get through rather than emerging. But your project itself, I think if you have I think the further the projects on might be useful. Yeah, a little bit, but I don't I don't actually say if it's a first draft, sometimes the best time to crack it open with a great writing mentor and before you've locked down too much, you know. 00:24:07:24 - 00:24:11:24 Speaker 2 So, yeah. Good question. Good question. 00:24:12:01 - 00:24:16:07 Speaker 1 I hope I answered it. Cool. 00:24:16:17 - 00:24:41:01 Speaker 2 People saying thank you, thank you. You're more than welcome. Does the film up program cover distribution and is on any funding? It doesn't. Well, not specifically New Zealand on a funding. Although all our programs, we're happy to talk about all sorts of, you know, other things. I mean, we're there together in the hubs, you know, there's nothing stopping us having an afternoon on funding and talking about the landscape of funding, what's available, what isn't, how you access it, things like that. 00:24:41:01 - 00:25:08:10 Speaker 2 So, yeah, absolutely. We probably would do at least a session on that at some point throughout the, the hubs, it won't, it won't deep dive into TV, TV funding because it's a feature film lab. But I think it starts to pretend it doesn't. You know, it's not helpful. Distribution. Absolutely. So we we've done it before, and we'll definitely do it again and we'll bring it out our friends from distribution companies, all of the ones. 00:25:08:10 - 00:25:31:15 Speaker 2 And I'll tell one that desperate to make up. In fact, I rented someone last night from Mad Madmen at the Pike River. Premiere. Which was amazing, by the way. You have to go and see it. Absolutely. You know, obviously, we know the story. But yeah, just amazing. So inspiring and beautifully told by, you know, by Rob, Rob Serkis and Fiona Samuel, the writer, and Vicky Pike. 00:25:31:15 - 00:25:47:22 Speaker 2 Just gorgeous work. But, I was reminded last night, madman, Ariana from Madman and Luke from umbrella was saying they want to catch up and talk about writers and talk about scripts that we're aware of and who's out there. So they are desperate to find out who's out there and what you've got. They want to come on board early, like really early. 00:25:47:22 - 00:26:04:07 Speaker 2 You know, they're not interested in the, you know, the other end of it. They distribute the film. But a lot of good distributors want to come on early and help guide you in some way, not control you. But guide you in terms of, okay, well, if this is the film you're telling the storytelling, this is the likely market. 00:26:04:07 - 00:26:12:19 Speaker 2 And, and let's talk about it early doors, you know, so, yeah. So they'll definitely be a part of it. And actually so, 00:26:14:06 - 00:26:14:23 Speaker 1 Okay, why. 00:26:15:03 - 00:26:18:13 Speaker 2 Am I, what are new. Right. 00:26:18:15 - 00:26:19:14 Speaker 1 Hang on, I. 00:26:19:16 - 00:26:41:24 Speaker 2 Can't question works touched on I can write. It's with little expensive agency short film. Yeah, this kind of. It's a it's an ongoing question. Isn't that really, how do you find new emerging? You know, writers especially, I think so. My take on it and there is no hard and fast rule once again, apply for everything. 00:26:42:01 - 00:27:04:10 Speaker 2 But I think, writers who, have been writing, content for a while and, and getting stuff made, whether it's self-funded M6, I don't myself must not love, you know, get your shorts, make something even 48 hours just making stuff and then also flexing your muscles in terms of your your longer form. If you're into feature films, obviously this is what the celebs about. 00:27:04:12 - 00:27:24:05 Speaker 2 But, writers that have been writing shorts. Absolutely. And now this is their first feature, you know, that may be written a draft or two, maybe another story in their head as well, I don't know. Then. Absolutely. This is the right kaupapa. It's it's really hard because actually, the truth of it is writers are amazing. 00:27:24:05 - 00:27:42:22 Speaker 2 And actually just honing your craft and delivering an amazing story can grab people. And you might not have had much, many runs on the board at all. And I think we we're always open to that. It's harder for directors and producers actually to convince, you know, if you're not a writer, to convince people that they're right liberals, they haven't actually got some runs on the board. 00:27:43:03 - 00:28:03:06 Speaker 2 But writers we read your work and then, you know, it is hard at feature film level. I, I was at reading story camp at the moment. And the less experienced writers, you know, you can see the, the slight craft difference between them and people who have got, you know, maybe even more work and theater or in other forms, novels, short stories, those kind of things. 00:28:03:10 - 00:28:19:18 Speaker 2 There's just a craft of storytelling that you kind of get a sense of. But that's not to say you can't get there. And, once again, yeah, just if you're writing, you're a writer and. Yeah, it used to be experience in the industry and all of that, but I think that's kind of it's hard to define that now. 00:28:19:18 - 00:28:33:04 Speaker 2 You know, we're all people working in all sorts of myriad of different ways. So, I might not have answered your question one out of, but, I think, I yeah, I know you work. I just think, yeah, you the right living. Come on in. 00:28:34:06 - 00:28:35:13 Speaker 1 Another one. What is the. 00:28:35:13 - 00:28:54:15 Speaker 2 Best advice for a writer who hasn't had since published? Well, that is the million dollar question. What do you do? I think, once again, I'd still encourage writers to apply because you just don't know. You just don't know. And actually, putting things in, you get feedback, you know, I'm willing to have a call and have a chat. 00:28:54:15 - 00:29:14:11 Speaker 2 You'll get panelists reading your work, which is always useful. And a in a career sense, I think the most important thing for a writer is to start building those links with people who, if you're not a writer director, which we don't, you know, we have a number of them, but we but we seem to have a more, writer directors in New Zealand. 00:29:14:16 - 00:29:32:23 Speaker 2 But if you're not there, then you've got to find some allies. You've got to find some connections. And I just really recommend, film festivals. 48 hours. The short film competition, Show Me Shorts is on at the moment. Look at the film commission website and just see who's been funded. Watch the work if you can get hold of it and go. 00:29:32:23 - 00:29:52:24 Speaker 2 I'm really inspired by that director of that producer's work. It kind of aligns with the stories I'm interested in telling. And then just, you know, social media stalk them basically, and fund them, get hold of us. We might know them, and we can do an introduction. And it really is, about connections in the screen industry. 00:29:52:24 - 00:30:12:03 Speaker 2 It's all about relationships. So we've got some shorts. We do a self-taught twitch up here in South Auckland. And one of the writers, they're actually two of the writers at the last how a couple weeks ago was saying the same thing that that just, you know, one of them is, you know, you know, really shy and beautiful writer, amazing writer, but just not into the networking, not into that stuff. 00:30:12:03 - 00:30:28:02 Speaker 2 And so, okay, well, you just need to find a way online or through other networks to try and connect with some people and actually sell shorts in that hub. He's got writers and directors in there. So there are people in there that know his work already, so I hadn't thought of that. So yeah, just you might find people in that network. 00:30:28:02 - 00:30:32:23 Speaker 2 There will be people on this call here that are looking for great ideas and great stories, 00:30:33:14 - 00:30:34:14 Speaker 1 Cool. 00:30:34:16 - 00:30:41:24 Speaker 2 Thank you. If accepted for film, what does this increase your chances of NZ FC taking more seriously for funding? Oh, that would be lovely, wouldn't it? 00:30:45:11 - 00:30:55:04 Speaker 2 Taking you more seriously? Well, I would hope so. Without funding it. So. Yes, without being cynical. Absolutely. You're on the radar. 00:30:56:24 - 00:31:19:14 Speaker 2 I think probably more so than ever now, our programs are feeding into or or we're making more connections with what the Film Commission is trying to achieve and what our programs are set out to do. And it's happened for a few years now, but it's getting much closer now. So, for example, I've got ideas around both story and film up. 00:31:19:16 - 00:31:47:03 Speaker 2 Can we find a way in which actually the cohort actually get to meet the development execs, for example, at the film commission, you know, just bring them in one day for one of the hubs or another event, not pitch your projects necessarily, but just kind of build those links and those connections. I will I've always found and I was obviously at the film commission for nine years, the moment you can, become a person to someone at the other end receiving loads and loads of applications, it is harder to turn them down. 00:31:47:03 - 00:32:02:13 Speaker 2 But it's also, harder to to them down in a dismissive way. You know, there's you still have to tend to 90% of the people, of course, because of the numbers. But there seems to be that human connection you can make seems to help, them, you know, treat you with the respect and the money that you deserve. 00:32:02:15 - 00:32:21:04 Speaker 2 I think so. Yeah. Being on these programs can help. There's no guarantee, of course. Absolutely none. And if you look at most of our programs, this one and story camping, some of the longest running ones, there's a good connection between the people and the projects getting development funding afterwards. You know, it might take a few years. 00:32:21:04 - 00:32:32:02 Speaker 2 May not be the same project, but it seems to have helped build the confidence, build some skills and craft, and and access some some money from the film commission. You. 00:32:32:07 - 00:32:32:17 Speaker 1 Cool. 00:32:32:17 - 00:32:56:17 Speaker 2 And next on how the genre semantical audience preferences for the feature film project that you use for application. Absolutely not. Oh, an animated feature. Well, that's always interesting is that, I'm the children. Absolutely. Fine. No. No, no barrier whatsoever. Because as I said, it's very bespoke to you and your project and your journey that you're on and the types of work you want to make. 00:32:56:19 - 00:33:17:17 Speaker 2 When I saw Animated Feature, I naturally got that really hard to get up in New Zealand, as you can imagine, because they're not cheap. Take a long time, but, but once again, your mentor could be an international, an international person that works in that space, whether it's in, in Australia or whatever field. So, absolutely. 00:33:17:19 - 00:33:43:15 Speaker 2 There is a big push for animation. And also, you know, I don't know if you've seen recently that some commissioner has been a bit of time focusing on animation in the short space to try and build people's capacity and show reels and stuff. So the catalyst funding $100,000 short film, they had a special run for animation, and there's a lot of talk about connections between us and Ireland, because of a great animation creativity and whether we can try and get some more co-productions in the animation space. 00:33:43:17 - 00:34:01:05 Speaker 2 So yeah, absolutely not. And I always open to that. Yeah, I do, I do notice we're getting more, I guess what you call has been, were coming through and scripts, which is interesting. We get a lot of drama, of course, but certainly in the surround of story camp, even with a number of, yeah, mash up genres. 00:34:01:05 - 00:34:09:10 Speaker 2 Yeah. Some horror films. The thing, it's been great. It's good for the reader, you know, it's great because you're not just reading the same type of content all the time. 00:34:10:01 - 00:34:10:18 Speaker 1 Okay. 00:34:10:18 - 00:34:26:16 Speaker 2 For links to previous work, does it need to be from a release project or would an upcoming sneak peek? I would love to see a sneak peak. That would be good. I won't share it with anyone. Or else does it have to be a full film or would a trailer do? Oh my goodness. So you've got a range of work. 00:34:26:18 - 00:34:28:05 Speaker 2 If submitting a feature. 00:34:28:05 - 00:34:53:13 Speaker 2 As long as we get enough of the previous, like, a trailer I'm not so sure about, like, it's about, like, people when they send show reels with lots of clips of different things. Yeah. You sometimes don't get a sense of their voice or their artistry in their craft. So, I'm not so sure about a trailer, but I think the sneak peak, as I said, I'd love to see, but, or something else that just speaks to your voice. 00:34:53:13 - 00:35:23:01 Speaker 2 I think that's that's all we're really looking for in the previous work space. The actual project you're going to work on for the, you know, the feature film you're going to work on with through your mentorship. The key thing there is identifying what, what stage it's at and why you want this mentorship to help you. I think that's the key question in the, in our, panelists minds when they're going to be reading your proposals is, okay, this is a mentorship program first and foremost with these amazing hubs. 00:35:23:03 - 00:35:56:12 Speaker 2 We we can develop that kind of craft and insight into a wider range of things. But the project itself and the mentorship, the projects at each stage and this mentorships really going to help that person. Yeah. As I said earlier, finished the the, editing and really support them into that release phase or it's actually in is to my I was talking about it's at the script stage and actually it's going to be deconstructing the script, pulling it apart and, you know, going back to, one of the core story elements and bits of the story. 00:35:56:12 - 00:35:59:24 Speaker 2 Cool. Okay. Next question. 00:36:00:01 - 00:36:02:12 Speaker 1 Dee dee dee dee. Let's scroll down 00:36:02:12 - 00:36:27:15 Speaker 2 Oh, there we go. Is the mentorship specifically for writer director producer first feature? No. No, not technically. It often does attract, first feature, level talent. And possibly that speaks to, what Isaac was talking about when you get your team together. So if you've made a feature often not always, but often, a lot of that team are then moving to the next one and helping support you. 00:36:27:15 - 00:36:39:01 Speaker 2 So maybe there's an informal mentorship going on. So you maybe don't need the scope up or as much, but, it's not specifically for first feature, at all. 00:36:39:01 - 00:36:45:14 Speaker 2 Oh, yes, I did answer that question. That's good. Does a story need to be sitting out? 00:36:45:14 - 00:36:48:09 Speaker 1 You know, good question. 00:36:48:11 - 00:37:11:07 Speaker 2 No. It is funded by the Film Commission. And so I recommend you look at and I can't point you in the right direction, but it's on the film Commission website. Just put, something about definition of New Zealand, a New Zealand film or, the criteria for a New Zealand film. There was a criteria in there which kind of indicates, what you need. 00:37:11:09 - 00:37:32:03 Speaker 2 And that is similar to the criteria for, say, co-production agreements between countries, or getting the rebate, the incentive side of, the funding from the government. And so something could be set in space. It could be it could be an animation, kids animation we talked about earlier. So it could be completely fictitious. So it doesn't have to be sitting outside or. 00:37:32:03 - 00:37:54:02 Speaker 2 No. What is important is that you are a New Zealand citizen living a resident because it's public money from the government. And secondly, that, you're, likely to make that film here. Because we obviously want to give back to our industry and support our industry and grow our industry. That doesn't mean that, well, in a co-production sense, you know, you might be writing something I've mentioned before. 00:37:54:02 - 00:38:15:14 Speaker 2 Ireland is pretty aligned with us in the animation space. It might be actually. It's an Irish New Zealand co-production, so half of it could be made there and half of here, depending on how you split, you know? So that kind of stuff. Some stories lend themselves to that Australia, New Zealand stories, you know, and I know there's a conversation on Indian, stories and Indian kind of connection with New Zealand on all sorts of levels. 00:38:15:14 - 00:38:23:15 Speaker 2 So, I suspect we're going to see more of those stories come through. But yeah, something that, you know, you want to make here predominantly. And, 00:38:23:17 - 00:38:25:17 Speaker 1 It can be set anywhere. 00:38:25:17 - 00:38:26:10 Speaker 1 So. 00:38:26:12 - 00:38:44:05 Speaker 2 Is there preference for feature or documentary? No, not at all. I, I don't know if you can see behind me on, I think misinformation most of the documentary might come through, film up. No, through some went through one of them might have been film up or, story camp. I'm not sure. So no documentaries. 00:38:44:07 - 00:38:59:09 Speaker 2 Very, very welcome. And. Great. We don't get a lot of extra. I'm not sure about to for story camp. We don't get a lot of applications for documentaries. We get a few, but the majority. Narrative. That's a form of. I'm not sure, but yet we've tended to always have a documentary or two in there. 00:39:00:08 - 00:39:22:01 Speaker 2 And also, I don't know if it was asked that, but I don't know. Many put it in my list of possible questions tonight because she's very ahead of the game. We've got eight places. What's the kind of breakdown? Writer, director, producer. There is no set, requirement like, I mean, literally, as I said earlier, went back to, last year's, last year's program. 00:39:22:01 - 00:39:39:18 Speaker 2 I looked at it and it was pretty much all writers there was one, I think, writer, producer. But it's pretty much a writer cohort. And I wasn't part of the selection process. I'm not sure why that ended up, but, you know, subsequent years before, obviously we've had, we've had a bigger mix of writers and directors and producers. 00:39:39:20 - 00:39:47:06 Speaker 2 So not really. It's not. Yeah. We're not hellbent on having a good range of all of them, really just depends who's coming in. 00:39:47:06 - 00:39:48:21 Speaker 2 Okay. 00:39:48:21 - 00:39:52:14 Speaker 2 And one of the optional answers regarding. Oh, hang on, I have. 00:39:52:14 - 00:39:54:17 Speaker 1 To extend my thing again. 00:39:55:07 - 00:40:01:16 Speaker 2 Other active project were asked to provide title of project. But if the project is being assessed for something. 00:40:01:18 - 00:40:01:23 Speaker 1 Is. 00:40:01:23 - 00:40:05:16 Speaker 2 Reading blind, such as Kubrick? Is it? I kind of want a generic answer. 00:40:05:16 - 00:40:11:07 Speaker 2 We don't read blind. We don't do, blind assessment at all. 00:40:11:18 - 00:40:13:09 Speaker 3 Ouch. I've been here at this rate. 00:40:13:10 - 00:40:15:13 Speaker 2 That other. 00:40:15:15 - 00:40:27:06 Speaker 3 So if they're applying for something that is being blind read. So yes, probably write it as untitled or something like that. 00:40:27:06 - 00:40:28:04 Speaker 1 but of chance. 00:40:28:04 - 00:40:29:09 Speaker 2 Blind read sometimes. 00:40:29:23 - 00:40:30:16 Speaker 1 Very good. 00:40:30:16 - 00:41:08:20 Speaker 2 Okay. Is, and sort of a syllabic caliber of writers. Good question. Story camp. So, yeah, it's film up and story camp. I don't know if I should repeat it. So similar caliber of writers, I would say. Yes. But, because Story Camp is first and foremost and primarily a script development, lab, the, the quality bar is probably higher in terms of the experience level or the craft level, not experience level, the craft level and story camp. 00:41:08:20 - 00:41:37:20 Speaker 2 So, it doesn't mean that the script is further on in terms of its journey and, and it's iterative process because some projects, being broken apart when they come in, you know, that's absolutely legit. But yes, I would say that the craft level of a story camp, script probably needs to be at, at a higher level or a more advanced level than potentially a film up application. 00:41:37:22 - 00:41:50:24 Speaker 2 They're not wildly different, but, because once again, they're not probably for brand newbie, writers starting out, you know, never written anything before. I think, just because it's competitive. 00:41:52:08 - 00:42:01:19 Speaker 2 We tend to get I think we got 60 applications last year, for eight places. So it's you know, it becomes contestable, you know, pretty quickly, 00:42:02:18 - 00:42:06:02 Speaker 1 Okay. Yeah, yeah. Go. 00:42:06:04 - 00:42:29:08 Speaker 3 I just have one that I've, brought up earlier. So the film ups for individuals, not for teams, but we do get quite a lot of car riders, through a lot of our programs. So correct me if I'm wrong, Dow. But both co-writers, completely eligible to apply for school draw. Photo map. 00:42:29:08 - 00:42:50:17 Speaker 3 Excuse me, but you both need a car separately, and it's not going to discount it, either of you that you're both applying with the same project that you're working on. And it doesn't have to be just co-writers. You could it could be. The producing of that project is also applying, and then a writer wants to apply as well. 00:42:50:19 - 00:42:59:06 Speaker 3 But but just because one team member could be successful, it doesn't mean the rest of your team could be successful. 00:42:59:07 - 00:43:02:01 Speaker 1 Next class? 00:43:02:03 - 00:43:06:11 Speaker 2 Absolutely. Perfect. Good. Yes. I just said that to someone yesterday. The downfall. 00:43:06:11 - 00:43:09:04 Speaker 2 So, yeah. You won't discount each other. 00:43:09:04 - 00:43:28:04 Speaker 2 The majority of you haven't applied before. So you've looked. I hope you've looked at the, It's a pretty simple application, I think, but just once again, I always think it's wise to reread the question sometimes. You've once you've answered it, then just go back and reread the question again. 00:43:28:04 - 00:43:33:12 Speaker 2 Read it out loud. If you have to get someone else to read the question and then hear it for the first time again, and I have, I actually answer that. 00:43:35:23 - 00:44:01:03 Speaker 2 Yeah. And I mentioned it before just to remind you that when you're thinking of the mean to really think about, you can think about the person themselves, of course, if you know them. But if you don't find those people that represent the type of creative, artistic, person you are and the way in which you like to work, you may not know that. 00:44:01:05 - 00:44:21:18 Speaker 2 You know, the methodology that's fine, but you get a sense from the work they do in the way in which they present themselves and in the world, that there might be a good connection there. And I think speak to that. I think that's the key thing I personally find when trying to match people for mentorships is when we find that values connection and that artistic connection, marries. 00:44:21:18 - 00:44:44:07 Speaker 2 And sometimes they're not the most obvious person. Often their work speaks to your work. Sometimes, you know, in a kind of you can see the alignment there. But it's also something about, yeah, a values based kind of approach that's hard if you don't know them. Obviously, if you haven't been in touch with them, but you can kind of get a sense from someone when they present themselves in the world. 00:44:44:09 - 00:45:06:24 Speaker 2 And certainly in the creative world, of what they seem to stand for, what they seem to what seems to drive them, you know, it's not going to rule you out either way. If, you know, you go to you go to a group of mentors, are you going to 1 or 2 that you put in that we think, I share that there might be someone else that's probably more appropriate that that's fine, because as I said, it does. 00:45:06:24 - 00:45:22:07 Speaker 2 Once we select the group, we then go back and we get to actually have a chat about the type of mentor you want. And so, you know, we'll do that at the end of the year once we've decided right, then we've got plenty of time before April, before we kind of kick off to light it all up. 00:45:22:24 - 00:45:29:13 Speaker 1 What would you best advice for someone who is eager to through it just starting out. Well, what. 00:45:29:13 - 00:45:44:21 Speaker 2 Are you doing? Get involved in every code. Probably you can. So. Yeah. The advice. What's the best advice for someone starting out eager to write and do it, but just starting out? Well, we're all starting at some point, and we're all on the line again. Now hold on. So, my advice is just keep writing. 00:45:44:21 - 00:46:08:11 Speaker 2 Keep, keep making stuff, getting getting stuff made. And I think, like we said earlier, you know, a couple of the questions just connections. Finding a connection with someone that's going to doesn't have to be more experienced or whatever, but just that, as I see the before, aligns with your values, it's got your back a bit because it can be quite isolating. 00:46:08:11 - 00:46:27:00 Speaker 2 This industry, you know, although it's it's lovely and people are really supportive in a lot of ways. It can also feel quite isolating because where the hell do I go? I how do I how do I get a step forward? So finding people for your tribe, I think is really important. The guilds, and obviously script screening organizations are that a good fit being a part of? 00:46:27:00 - 00:46:44:20 Speaker 2 Because that's, by a definition, their job is to connect to people. So get along to events and things. And, and as you are, just make stuff and get it out. And every time you make something, make sure you invite someone you don't know, like, just go, okay, I'm going to invite the executive from the film commission. 00:46:44:20 - 00:46:59:12 Speaker 2 I'm just going to email. So I've got a short film. It's screening tomorrow night at the festival or a screening, you know, a private screening. If anyone's able to come, I'd love to see you there. When they don't come. If they can't, you then send them a link the next week and say, this is what you know, this is the film. 00:46:59:14 - 00:47:24:23 Speaker 2 Really keen to talk to you about my work and. Yeah, just making those connections are really useful. Yeah. Make and learn from your mistakes. Absolutely, absolutely. I've done that. I'm not so sure I've learned that much, but I've certainly made a lot of mistakes. And, you know, falling down, it's, you know, it's it's it's good to get back up again or if you've got your, your peaks around you, they can help pick you up, which is always good. 00:47:25:00 - 00:47:25:13 Speaker 2 Thank you. 00:47:25:13 - 00:47:27:20 Speaker 1 Darren. 00:47:27:21 - 00:47:49:19 Speaker 2 Yeah. I think the other thing is, we get a bit siloed sometimes in one area or one thing we're doing and actually just being open to other influencers. And that's certainly what story camp and so much were about is there's a kaupapa of that. It's fundamentally doing of film mentorship about your feature film and some wider kind of craft and career development. 00:47:49:20 - 00:48:07:24 Speaker 2 But actually, we might bring in a poet to talk about storytelling. We might bring in someone else just to unlock things or see the maker or something, and just to talk about different art forms and different storytelling techniques, because sometimes we can get a bit weighted to things about kind of, you know, railroaded a little bit. And, it doesn't always help our art form. 00:48:07:24 - 00:48:16:08 Speaker 2 So remembering it's an art form first and foremost, sometimes we forget that. We think it's something else, but it's good to focus on that. I find. 00:48:16:23 - 00:48:43:05 Speaker 4 Yeah. Kiera. I don't really have a question because it just got answered before. But what I wanted to do, though, just I wanted to get myself on the radar. So I did a short film, last year called Toyota, and, my YouTube channel for Altera studios. So if you want to go watch my short film, Toyota, it's about teenage suicide. 00:48:43:07 - 00:49:06:08 Speaker 4 And, I'm just done. Post-production for my second short film, you know, which is, about, myth, the myth, and now multi communities and health, destroying our community. So, of, so that's in post-production and you might know remotely. I don't know, cause clearing my editing and at some point. Hamilton. Hamilton. 00:49:06:11 - 00:49:07:03 Speaker 2 Yeah. 00:49:07:05 - 00:49:21:16 Speaker 4 And, we sort of there's not many sort of full meeting, but we kind of sort of get together enough, kind of, pretty much got from going again back in Hamilton here with my two short films. 00:49:21:18 - 00:49:22:04 Speaker 1 That. 00:49:22:06 - 00:49:50:15 Speaker 4 I've written a, feature for. And, so when I saw this film, so I haven't done anything sort of, what the film commission or with any sort of organization, legit organization in the film industry. And, because I thought through trying to learn, learn the game and learn the art, but, I wrote, I wrote a, I wrote a feature, and I'm just going through my second draft, and I want to direct it myself. 00:49:50:15 - 00:49:59:15 Speaker 4 But, I think kind of the question I wanted to ask, is. 00:49:59:17 - 00:50:32:07 Speaker 4 When I'm at the stage of like, once my script is ready to go. And so it's really to, do you guys provide like axis or context to like production houses and professional production houses in New Zealand? They can actually I can get my movie made because my client does the, camerawork for my short film. So, yeah, he's still learning the camera game, but I call him anyway because I don't know how to do camera, but he does it so. 00:50:32:11 - 00:50:51:16 Speaker 4 But when I do a feature film, because I find short films, you can just experiment a lot, make all your mistakes and. Yeah, absolutely. When I, when I crack onto a feature, I want, I want to to be professional, I want to I want a good dop on a good sort of, producer. I want a, you know, just a good crew. 00:50:51:16 - 00:50:59:08 Speaker 4 Just a good professional. Crazy. Do you going or. I mean, during this film up thing. 00:50:59:10 - 00:51:02:10 Speaker 4 Will I have access to meet those types of people? 00:51:02:12 - 00:51:37:09 Speaker 2 Yeah. So, good question. I, absolutely. We we don't do a kind of matchmaking service, but we do. We do have a lot of people come in. So the hubs, for example, we'll have guest speakers and we might bring in. So the chief exec of some of the one of the major production companies to come and talk about working with them and specifically in the feature film space, how they like South Pacific Pictures, for example, greenstone or one of those companies, they develop feature films both with film commission money, but also they have resources themselves, and they might invest in a writer to develop a draft or two of their own work. 00:51:37:09 - 00:52:06:11 Speaker 2 So we might, if the cohort wanted that, we might organize to do that. Yeah, absolutely. Outside of our programs, we're happy to have a conversation with you. Have a cool little one. Go. What type of organization you're looking for. We we could do an introduction outside of a whole program. You know, the good thing about a program is the people in the program as well might give you some insights into working with different organizations or different cinematographers, different editors, different distributors that you know, because it's a close shot. 00:52:06:11 - 00:52:29:20 Speaker 2 We can have a conversation and they might ward you off certain people and go, actually, I wouldn't go down that road because, you know, I didn't have a great experience or, you know, so that kind of stuff is quite useful as well in the cohort. But absolutely. Yeah. The way it works in Altidore is, yeah, you get some script development funding and then if you, if you go down that road and then you start building those networks, you need a producer really as a writer, that's the one thing you need. 00:52:30:01 - 00:52:34:04 Speaker 2 The producer then starts to bring in the key players. Okay. Yeah. 00:52:34:06 - 00:52:39:06 Speaker 4 When I, my film title was in the, Misty phone flick last. 00:52:39:08 - 00:52:39:24 Speaker 2 Year. 00:52:40:01 - 00:53:04:03 Speaker 4 And White Whale Film Festival. Yeah. And, I know, at the flick festival. Tell me too. Jonathan. Jonathan, worked on opening. But if he could just happen to be the. Yeah, come along in, much more short form work and so. Oh, maybe I should try and get on that. Do pretty thorough. Be curious for parties. 00:53:04:05 - 00:53:20:22 Speaker 2 Absolutely, absolutely. Tap him. Yeah. Yeah, absolutely. There's great there's great people out there and it's great people. Yeah. And there's the hosting box Collective has put up with a number of them that are great and they're making great, great work. So yeah, that's what you want to align with people who are first and foremost your values align. 00:53:20:22 - 00:53:37:13 Speaker 2 I think that's key. Like, you know how you work and how you know what you're what you have to haves are, you know, like, this is the way I like to work. I'm not willing to work. And that way, you know, so you see you see all that really clearly. And then hopefully the content aligns as well. And then yeah, building your team and so on. 00:53:37:13 - 00:53:46:24 Speaker 4 I think it's just, you got to be able to network. I like yeah, sort of talk to people and then sort of you build some relationships on that. 00:53:47:01 - 00:54:05:08 Speaker 2 Yeah. Well, you, I think you're pretty good at that after this. So. Yeah, there's that. Also, just to mention the screen office down there, the the secret office down there has been in touch with us about, supporting a writers kaupapa, down in the Waikato. So, yeah, we don't know how it's funded yet. 00:54:05:08 - 00:54:12:07 Speaker 2 What? We'll have to go looking for some money, but, Yeah, just lean that, you know, our active going. We need to try and find do more now and our role here. So. 00:54:12:07 - 00:54:15:07 Speaker 1 Yeah, it's go, go. 00:54:15:09 - 00:54:16:02 Speaker 4 You're a. 00:54:16:04 - 00:54:22:19 Speaker 2 Yoda. And everyone now knows the studio and the short films. So you can go and watch the short films up the numbers. That would be good. 00:54:22:19 - 00:54:40:16 Speaker 2 Really want to do feature film on an iPhone? Oh great idea. It would minimize your crew a little bit. Anyone in the space doing that? Well, it has been done before. Not just on iPhone. I think specifically on my phone, actually, one of the first ones I'm trying to be what it was called. 00:54:40:18 - 00:54:58:17 Speaker 2 It got into Sundance. But yeah, if you I mean, if you Google it, I'm sure you'll find them. Tangerine. There you go. You got to look at that to my off the. See the young ones, they know how to go. Surprises didn't come through as an emoji. Yeah, that was a really, really, popular film. 00:54:58:17 - 00:55:22:12 Speaker 2 Did really well, I think it was, I guess an equal, equal amount of great marketing about the fact that shot on an iPhone and it was shot on an iPhone. But when I saw some of the rigs around that iPhone, it looks more like a camera rig than an iPhone, because the iPhone wasn't in the middle there, but there was all sorts of things offered and, you know, so that it has got better and better and better. 00:55:22:12 - 00:55:27:04 Speaker 2 And I've seen other projects where I've seen photographs of behind the scenes, and the iPhone's not looking. 00:55:27:04 - 00:55:28:10 Speaker 1 As. 00:55:28:12 - 00:55:49:18 Speaker 2 It's full of lenses and things. But, yeah, absolutely. I mean, the thing that I find about mobile phones, we're actually doing a workshop in, in Colorado, actually just, down the road, in November on mobile phone, filmmaking for young people. And one of the things or two of the things, one sound is always a problem and that type of stuff. 00:55:49:18 - 00:56:10:21 Speaker 2 So working out what your sound kind of like building in your sound kind of program plans before you go too far down the line. Because sound can be an issue. And secondly, storage, data storage, you know, so those kind of things seem to be and actually DSLRs have the same issues sometimes in terms of storage. 00:56:10:21 - 00:56:32:13 Speaker 2 So, and sound. So, yeah, it's just, you know, sometimes using the regular camera just makes life a little easier. But, there is no nothing stopping you shooting on an iPhone. And it won't go against. Yeah. Not absolutely not. What I would say is, if it's a project that you're pitching that you want to work on, absolutely. 00:56:32:13 - 00:56:52:12 Speaker 2 No, it wouldn't wouldn't hold you back at all. The technology, the way in which you want to make your film isn't really something that we're gonna make a lot of decisions over. I think the main thing that people would look at is, why they utilizing this type of technology or this type of, methodology for this film. 00:56:52:12 - 00:57:09:10 Speaker 2 Oh, that makes sense, you know, because it's really intimate or it's really this or at standards found footage, you know, like there was a lovely shoot down a few years ago that was all found footage. And so they used to find in that for a lot of it, because they got the angles they wanted because they could just stick it, you know, you know, under the tree or they could do whatever. 00:57:09:10 - 00:57:12:16 Speaker 2 So, so as long as the methodology makes sense in terms of the story of 00:57:12:16 - 00:57:23:22 Speaker 2 Oh, there you go. Yeah. Blue moon as well. Yeah. Yeah of course Tiff some stiffs. Local film of course. Should have. I should have mentioned that first for Tangerine tonight. Amanda. That's terrible. I me, shot on. 00:57:23:22 - 00:57:31:11 Speaker 2 Oh, knife on as well. Oh, cool. Yeah, I know we shot it on a on a, on the phone. Yeah. For 15 k there's no excuse, people. 00:57:31:13 - 00:57:31:19 Speaker 1 Yeah. 00:57:31:19 - 00:57:39:15 Speaker 3 And I just want to say, I think he did it for seven days. Seven day shoot at night. So there you go. Go for it, guys. 00:57:39:17 - 00:57:59:13 Speaker 2 Thanks. It's great. I've haven't seen. It's great film. Really good film. And I, I think that's hilarious because it was obviously shot on modern technology and it's a lovely from great photos and I watched on a DVD. How is it? I mean, isn't that crazy old school technology? 00:57:59:13 - 00:58:14:17 Speaker 2 So cinematographer of Tangerine won, was a DP for Nora that won the best picture last year. So Howell was shooting on an iPhone. There's no excuse. We expect an Oscar from you in the next couple of years. 00:58:14:22 - 00:58:33:04 Speaker 2 Well, thank you very much. Really, really appreciate you joining us, for the hui tonight. And. Yeah, lovely to see some faces I haven't seen for a while. It's really lovely. And, And then lovely to meet some new ones. So, once again, thank you very much. Really appreciate it. Stay in touch. If you don't apply for the scope of it's fine. 00:58:33:06 - 00:58:41:05 Speaker 2 We'll always have another one coming up. And. Yeah, keep in touch with with us that script screen. But have a great evening. Thanks very much, Chiquita.