YEAR (and a half) BOOK • 2012/13

Transcription

YEAR (and a half ) BOOK • 2012 / 13
TOP 10 FILM LOCATIONS AROUND THE WORLD CHEAPFLIGHTS (FEBRUARY 2012) HOBBIT
MANIA HITS WELLINGTON THE BIG IDEA (28 NOVEMBER 2012) ENVIRONMENT
PROTECTED DURING HOBBIT FILMING VOXY.CO.NZ (29 NOVEMBER) TRUCKERS ON
ROLL WITH FILM BOOM THE NEW ZEALAND HERALD (2 DECEMBER 2012) TINSELTOWN
COMES TO WAIKATO ONE NEWS (2 FEBRUARY 2012) ENVIRONMENT PROTECTED
DURING HOBBIT FILMING VOXY.CO.NZ (29 NOVEMBER) NEW ZEALAND: A LOVE
AFFAIR WITH THE LAND OF HOBBITS THE TELEGRAPH (22 NOVEMBER 2012) TOP 10
FILM LOCATIONS AROUND THE WORLD CHEAPFLIGHTS (FEBRUARY 2012) HOBBIT
MANIA HITS WELLINGTON THE BIG IDEA (28 NOVEMBER 2012) PROOF THE
FILM INDUSTRY BENEFITS THE ECONOMY REALFILMCAREER.COM (5 DECEMBER
2012) NEW ZEALAND TO FOCUS ON GLOBALLY-COMPETITIVE TV FILMING
INCENTIVES THE LOCATION GUIDE (3 DECEMBER 2012) NEW ZEALAND TOPS OUR
LIST OF THE BEST COUNTRIES FOR BUSINESS FORBES (14 NOV 2012) A SMALL
COUNTRY CROWDED WITH FILMMAKERS NEW YORK TIMES (23 NOV 2012) NEW
ZEALAND IS FERTILE GROUND FOR A FILMMAKING BOOM THE WRAP NEWS INC.
(5 MARCH 2012) NZ MADE FILM SLASHES DINOSAURS FOR BIG BOX OFFICE
WIN ENTERTAINMENT NEWS, TVNZ (8 APRIL 2013) TOP 10 FILM LOCATIONS AROUND
THE WORLD CHEAPFLIGHTS (FEBRUARY 2012) FILM NZ: SCREEN INDUSTRY CREATING
MORE THAN 23,000 JOBS A YEAR SCREENHUB.CO.NZ THE LITTLE KIWI PEOPLE
BEHIND THE HOBBIT STUFF.CO.NZ (28 NOVEMBER 2012) BEST SUPPORTING COUNTRY:
NEW ZEALAND NEW ZEALAND TRADE AND ENTERPRISE (29 NOVEMBER 2012) HOLLYWOOD
PRODUCER BLOWN AWAY SOUTHLAND TIMES (29 FEBRUARY 2012) MOVIE MILLIONS
KEEP FLOWING SOUTH OTAGO DAILY TIMES (4 APRIL 2012) NZ FILM INDUSTRY’S
STELLAR YEAR BREAKFAST, ONE NEWS (4 APRIL 2012) HOBBIT DWARFS RIVALS
AT BOX OFFICE STUFF.CO.NZ (13 DECEMBER 2012) ENVIRONMENT PROTECTED
DURING HOBBIT FILMING VOXY.CO.NZ (29 NOVEMBER) TRUCKERS ON ROLL WITH
FILM BOOM THE NEW ZEALAND HERALD (2 DECEMBER 2012) TINSELTOWN COMES
TO WAIKATO ONE NEWS (2 FEBRUARY 2012) NEW ZEALAND HITS NEW $3.3BN
RECORD HIGH SCREENDAILY.COM (10 APRIL 2013) FILM BODIES WELCOME ACTOR
PROGRAMME VOXY.CO.NZ (30 MARCH 2012) WELLYWOOD PULLS IN $500M FOR
CAPITAL’S ECONOMY DOMINION POST (2 APRIL 2012) NEW ZEALAND’S FILM
T
E
R
G
L
W
.
D
E
:
S
S
S
CONTENTS
02 FROM THE CHAIR
03 OUR BOARD
05 WORKING FOR SCREEN
06 PROMOTING THE NEW ZEALAND ADVANTAGE
07 SNAPSHOT OF ACTIVITY
10 AN ONGOING PRESENCE IN LOS ANGELES
11 THE PM’S VISIT
12 WORKING WITH ASIA
14 LEVERAGING THE HOBBIT TRILOGY
16 OUR SPECIALIST ENQUIRIES SERVICE
18 EMPEROR: ENQUIRY CASE STUDY
20 KEEPING NZ SCREEN BUSINESS-FRIENDLY
21 REGIONAL FILM OFFICES
22 THE GOVERNMENT SCREEN SECTOR REVIEW
24 BEST SUPPORTING COUNTRY
26 NEW ZEALAND: INSPIRING FILMMAKERS
28 A SELECTION OF ADVERTISING CAMPAIGNS
30 COMMUNICATIONS
32 A DECADE OF INTERNATIONAL PRODUCTION
34 INDUSTRY PARTNERSHIPS
36 SUMMARY OF ACCOUNTS
H
N
R
R
M
FILM NEW ZEALAND · YEAR (and a half ) BOOK 2012 / 13 1
FROM THE CHAIR
Every year the Film New Zealand Board makes decisions about where to focus
our resources. Some of them are determined by our government contract as
New Zealand’s national film office; others we initiate. In our work we can stay
in familiar waters, or we can chart new directions.
We like to chart new
directions.
In fact we have to: the everchanging and increasingly
competitive global screen
sector means our approach
to the business needs to
be constantly evolving to
meet the market.
Our work over the past 18 months has included:
New Zealand’s first on-the-ground national screen industry
representation in Los Angeles, with a consequent reshaping and
expansion of our enquiries business.
The first visit by a New Zealand Prime Minister to meet
New Zealand’s major US screen customers, with a programme
unprecedented in its attendance and quality, and the status of
the American participants.
2 FILM NEW ZEALAND · YEAR (and a half ) BOOK 2012 / 13
People opening their newspapers on the day of the premiere of
The Hobbit: An Unexpected Journey to see ‘The Best Supporting
Country’– a campaign highlighting the individuals, businesses
and communities who help make New Zealand one of the most
‘film-friendly’ countries in the world.
Introducing ‘New Zealand: Inspiring Filmmakers’, a print
and online campaign with inaugurating filmmakers Sir Peter
Jackson, Rob Tapert and Peter Webber endorsing a central
message that underpins all of our marketing.
Film New Zealand assisting with 459 enquiries from filmmakers
and filmmaking companies during 2012/13. Serious filmmakers
and production companies continued to consider bringing their
business to New Zealand.
This year alone we will have raised more than $300,000 in
additional contracts, sponsorship and partnerships, to make
things happen.
The prime ministerial visit had an immediate impact: the Prime
Minister put attracting international television production on
the government’s screen incentives agenda. We then worked with
the New Zealand and US industries to propose policy changes
to make us more competitive. Three of four recommendations
were adopted, along with other changes which will open up
some new business opportunities. Nevertheless New Zealand’s
competitiveness in a tough global market remains a significant
issue, particularly around incentives, a message we continuously
articulate to the government.
There were also achievements that were less public. A valuable
engagement with the Department of Conservation, coordinating
location scout and Regional Film Office input; work with the
Ministry of Foreign Affairs and Trade, New Zealand Trade and
Enterprise and Tourism New Zealand at home and abroad, and
with NZ Inc agencies and the New Zealand Film Commission
on The Hobbit. We invited actor Miranda Harcourt on to our
Board, and a series of low-key, positive initiatives with actors in
New Zealand and overseas have followed, with more to come.
This year has also seen Film New Zealand evaluated independently
as part of the government’s review of the screen sector. The review
confirmed the strategic importance of our work; the satisfaction of
US clients with Film New Zealand; our low-cost, instrumental role
in bringing in production; the high regard in which our work is held
by the domestic agencies with whom we work most closely; and the
astute way we tackle our mandate, and leverage the government’s
investment. The review affirms our international standing as the
national film office and the high value the government and the
New Zealand industry place on what we do. The government has
extended Film New Zealand’s contract for a further three years
and increased our funding.
Film New Zealand has found it valuable to reflect on the findings
and recommendations of the review. Of course there are things
we could do better. For a start, people would like to see a published
annual report. This reinstated and reinvigorated yearbook is our
response, and it provides a comprehensive picture of how we’ve
spent our time and our funding on the screen industry’s behalf. We
would like more capacity to work with New Zealand entrepreneurs
in New Zealand as well as overseas, and will expand our Film
New Zealand team accordingly in the coming year. We look
forward to continually improving our services.
In conclusion, reflecting on the year: did Film New Zealand spend
its efforts where it mattered? Yes, we undertook a substantial
number of major strategic projects, they demonstrated leadership
and quality, and we are proud of them.
Julian Grimmond
OUR BOARD
Film New Zealand’s Board of Directors is made up of senior screen industry
leaders representing many facets of the industry, from film and television to
digital production and animation, as well as the business sector.
Julian Grimmond – Chair
Jos Ruffell
Producer and director Julian Grimmond
joined the board in October 2006 and was
elected chair in October 2008. Based in
Queenstown, Julian is a multiple Primetime
Emmy® Award-winning producer and
Producers Guild of America nominee
who, as managing director and founder of
Global Film Solutions, has overseen film
and television projects on every continent.
Julian is also on the Board of Directors of
Auckland Film Studios.
Jos Ruffell is the chairman of the board of
the New Zealand Games, Animation, Visual
Effects Trust. He has spent more than 10
years working in the games industry, on
original and licensed titles for console,
smartphone and PC platforms, and headed
up business development at New Zealand’s
largest game production studio,
PikPok. Jos specialises in international
business development.
Julie Elstone
Miranda Harcourt
With more than 30 years working in film
and television, Julie Elstone has extensive
experience as a supervising and executive
producer of television commercials both
in New Zealand and overseas. Based in
Wellington, Julie runs her own production
company. She is a member of Women
in Film and Television and also on the
committee of the New Zealand Advertising
Producers Group.
Miranda Harcourt is one of New Zealand’s
most celebrated actresses and has played
an integral role in developing New Zealand
acting talent. As well as performing and
directing numerous award-winning
productions for stage and screen, she was
Head of Acting at Toi Whakaari New Zealand
Drama School for seven years and
currently works locally and internationally
as an acting coach.
Dr Allan Freeth
John McCay
Former CEO of telecommunications company
TelstraClear, Dr Allan Freeth has also held
senior executive positions at Trust Bank
and was chief executive and managing
director of Wrightson. He is currently a
trustee of Crimestoppers New Zealand and
the Malaghan Institute, and chairman of
Housing New Zealand.
John is a partner in the Wellington office
of law firm Minter Ellison Rudd Watts.
His professional involvement with the
New Zealand screen industry includes
advising on New Zealand films such as
Mr Pip, Shopping, Two Little Boys, The
Vintner’s Luck, Whale Rider, The World’s
Fastest Indian and In my Father’s Den,
as well as New Zealand television series,
overseas productions, sales and distribution
arrangements and merchandising.
Catherine Madigan
Line producer Catherine Madigan has been
involved in numerous international and
domestic feature films, television series,
television commercials and documentaries,
in New Zealand and overseas. She is currently
on the New Zealand Film Commission’s
Large Budget Screen Production Grant
panel and the Documentary New Zealand
Advisory Board, and is a member of Women in
Film and Television.
Thanks also to Graeme Mason – Chief Executive of the
New Zealand Film Commission, Garry Little – Digital Post
Executive Manager, and Kevin (KJ) Jennings – Film Otago/
Southland Executive, who served as board members in
2012 and 2013.
WORKING FOR SCREEN
Film New Zealand is the country’s international film business agency and
national film office. An outwards-facing organization, we work to leverage the
remarkable worldwide reputation of the New Zealand screen industry and
attract international screen production and investment.
Set up and run by the screen industry since 1994, Film
New Zealand is contracted by the New Zealand government
to work with production companies, studios and filmmakers
in New Zealand’s overseas markets, particularly in the United
States. We strive to keep New Zealand top-of-mind with these
clients, and to ensure serious international screen projects are
considering New Zealand.
Central to this is our specialist enquiries service, to help
filmmakers understand how New Zealand could work for them;
whether by providing incentive advice, costing their production
in New Zealand, assisting with commercial partnerships in
New Zealand, or showcasing New Zealand’s locations and talent,
we constantly seek to tip the balance in New Zealand’s favour.
Film New Zealand works closely with New Zealand
entrepreneurs and New Zealand companies, and a wide range of
government agencies.
In 2012 Film New Zealand gained a new presence in Los Angeles,
with Vicki Jackways taking up a semi-permanent role there. Film
New Zealand partnered with Park Road Post Production to share
Vicki’s expertise in the international entertainment capital.
Demand for Film New Zealand’s services in Auckland has
continued to grow, and to meet this need, Auckland-based producer
Paul Davis joined the team in a part-time capacity. Paul has worked
in international film sales and marketing since 1984, in New
Zealand and in London.
The team at Film New Zealand:
Jo Hiles, Gisella Carr, Robin Murphy (back)
Susa Kalliomaki, Fisher, Roxane Gajadhar, Simon Brash (front)
Film New Zealand is proud to be able to help international and
domestic filmmakers bring their visions to life in New Zealand.
Staff
Gisella Carr – Chief Executive
Roxane Gajadhar – Communications and Marketing Director
Robin Murphy – Enquiries Manager
Vicki Jackways – LA Representative
Paul Davis – Auckland Representative
Susa Kalliomaki – Office Manager/EA to Chief Executive
Jo Hiles – Project Manager
Simon Brash – Marketing Assistant (to July 2013)
The away team:
Vicki Jackways (LA)
Paul Davis (Auckland)
PROMOTING THE NEW ZEALAND ADVANTAGE
New Zealand enjoys a remarkable reputation as a centre of excellence
for screen production, but we need to work to constantly to keep
New Zealand top-of-mind for our international clients in an intensely
competitive marketplace.
During the past 18 months, Film New Zealand has revised the
way we promote New Zealand overseas. We believe relationships
are vital to encouraging productions to consider New Zealand
and we’ve invested in a strong presence in our primary markets,
implementing an ambitious programme of work particularly
in the US.
We’ve sought to maximise New Zealand’s visibility through
events, media and advertising outlets and engaging with social
media. We’ve also developed new tools to showcase New Zealand,
including an iPad sales tool and New Zealand Advantage
promotional material.
As the national film office, we understand that landscape remains
vital to many projects choosing to shoot in New Zealand, and we
continue to showcase New Zealand’s spectacular locations. At
the same time, we recognise that other factors are now equally
important, as demonstrated by the rapid growth of post-production
and visual effects here, and we have been working to tell this story
in our promotional activities.
Film New Zealand markets the financial benefits of filming
in New Zealand, and in particular the Large Budget Screen
Production Grant, which we position alongside other benefits such
as creativity, technology, skills, screen-business-friendliness
and capacity to handle projects of scale. All of these factors work
together to make up the New Zealand advantage.
Film New Zealand has developed an iPad marketing tool with
Wellington start-up Showcase. Showcase donated their time to
develop Film New Zealand’s app, and Film New Zealand was delighted
to be a test case for this entrepreneurial business. The result is ready
access to a seamless and updateable online tool for use in market.
SNAPSHOT OF ACTIVITY
2012
As well as our core enquiries business, Film New Zealand engaged
in a wide range of activities and events to drive business.
MINI MAJORS
DINNER, LA
SHOWCASE
SALES TOOL
MIPTV DINNER,
CANNES
The launch of a new iPad
‘Showcase’ sales tool, which
helps communicate the benefits
of filming in New Zealand.
Film NZ and SPADA sponsored
networking opportunity
at MIPTV in Cannes with
producer Vincent Burke.
Film NZ and US
Production Company
Good Universe host
the ‘Frog and Frigate’
industry dinner, and
NZ showcase.
IMMIGRATION
MEETINGS
THE NEW ZEALAND
ADVANTAGE
SEEING MORE OF NEW ZEALAND ACTORS ON SCREEN
Film NZ and the New Zealand Film Commission joint initiative
spearheaded by Film NZ Board Member Miranda Harcourt (to up-skill
New Zealand actors in US accents for international production).
EMPEROR FILM SHOOT
Location shoot in Auckland, Hamilton, Wellington and Auckland Film Studios, after Film NZ and RFOs
showcased New Zealand to producers.
NZ INC HOBBIT LEVERAGING
Film NZ facilitates
Immigration New Zealand
information sessions in
Auckland, Wellington and
Christchurch to advise on
upcoming changes.
LOCATIONS MAGAZINE
New Zealand feature story on
Emperor, ad campaign (with
Regional Film Offices).
Launched collateral on
benefits production in
New Zealand.
Tourism New Zealand (Lead Agency), Film New Zealand (Screen), and NZTE (Business) head up the leveraging streams.
JANUARY
FEBRUARY
A CONTINUOUS PRESENCE IN LOS ANGELES:
MARCH
VES AWARDS
APRIL
STUDIO AND PRODUCTION COMPANY VISITS
MAY
NAB
JUNE
LOCATIONS, MINI-MAJORS DINNER, PGA, COMIC CON
Film New Zealand and Park Road Post Production join forces on the ground in LA.
PUKEKO PICTURES –
CHINESE DELEGATION
VISITS
Film NZ, NZFC and Regional
Film Offices assist in hosting
high‑profile delegation of
filmmakers from China and Hong
Kong, invited by Sir Richard
Taylor’s Pukeko Pictures.
PRODUCER RON BOZMAN
(SILENCE OF THE LAMBS)
VISITS
Winner of the 2011 Film NZ trip
to New Zealand, sponsored by Air
New Zealand and Heritage Hotels.
FILMART HONG KONG
Film NZ attends.
FREMANTLE MEDIA VISIT
Signing of partnership agreement
with Pukeko Pictures, and
function at Parliament.
PDV SUBMISSION
Film NZ and collective
of post digital and visual
effects companies
prepare submission on
the Government review
of the screen sector.
SCREEN INDUSTRY
SURVEY RESULTS
2010–11
Statistics New Zealand
Screen Industry Survey
figures show the
industry’s gross revenue
grew by 4 percent
from 2010 to 2011.
CANNES
(SUPPORT FOR NZFC)
PRODUCED BY
CONFERENCE, LA
Supported NZFC with
promotional materials and
artwork as part of joint
representation strategy.
Attendance, sponsored
table at the Producers
Guild of America annual
conference.
PINEWOOD
STUDIOS VISIT
DOC MEETING
NZTE-sponsored visit. Film
New Zealand worked with
ATEED and Queenstown to
facilitate the visit.
One of eight meetings for
the year with Department
of Conservation to
provide screen industry
input into Conservation
Management Strategy
plans and zoning.
LOCATIONS
TRADESHOW
2012, LA
Film NZ attend
Association of
Film Commissions
International Trade Show.
SNAPSHOT OF ACTIVITY (CONTINUED)
SPADA CONFERENCE
2012, WELLINGTON
Film NZ presents session on
attracting film and television
production to New Zealand and future
directions for international production.
ASIAN PRODUCERS
NETWORK, TAIWAN
Film NZ attends.
AIR NEW ZEALAND/
HERITAGE HOTEL
COMPETITION
WINNER ANNOUNCED
COMIC-CON AND LA
PRIME MINISTER
JOHN KEY VISITS LA
Prime Minister John Key
accepts invitation from Film
NZ to visit Los Angeles
to meet with US screen
business partners.
Ty Warren, Executive Vice
President of Legendary
Pictures, wins Film NZ’s
2012 giveaway of a round trip
to New Zealand, sponsored
by Air New Zealand
and Heritage Hotels.
BIFCOM ASIAN FILM
MARKET 2012,
REPUBLIC OF KOREA
Film NZ attends ComicCon with Weta Workshop
during LA visit.
Attendance and
New Zealand function with
New Zealand Trade and
Enterprise.
AMERICA’S CUP LEVERAGING
ANIMFX CONFERENCE,
WELLINGTON
Film NZ co-hosts dinner for speakers
at the Animfx Conference.
INDIAN FILM BAZAAR, GOA
Attendance (as guest of the NZFC),
New Zealand profiled to the Indian
independent film industry.
HONG KONG ECONOMIC
AND TRADE DEVELOPMENT
COUNCIL, WELLINGTON
Ongoing meetings to establish links
with Hong Kong.
CREATIVE HANDBOOK
2012, ADVERTISING
Promoting the New Zealand
screen industry in the 2012
Creative Handbook – US
production resource.
FILMART VISIT TO NZ
Film NZ facilitates visit from
FILMART representatives
from Hong Kong.
Joined NZ Inc group focused on leveraging the New Zealand screen industry through the 2013 America’s Cup.
JULY
AUGUST
STUDIO & PRODUCTION COMPANY VISITS
SEPTEMBER
OCTOBER
PREPARATION FOR PM’S VISIT
PRIME MINISTER’S VISIT
NOVEMBER
DECEMBER
HOBBIT LAUNCH, LA SCREENINGS, TELEVISION INCENTIVES WORK
CHINA STRATEGY
Film New Zealand participates in Chinese strategy meetings and stakeholder group with NZTE.
RFO FORUM 2012,
WELLINGTON
Film NZ hosts Regional Film
Office Forum.
EMPEROR VIDEO AND
PHOTO SHOOT
Interview and photo shoot
promoting New Zealand as a
destination of choice for the
world’s best filmmakers. With
assistance from NZTE.
NEW ZEALAND
FUNCTION, BIFCOM
ASIAN FILM MARKET
2012, REPUBLIC
OF KOREA
New Zealand function and
celebration of MOU signed
between Gibson Group and
Cine 2000. Function attended
by Korean and New Zealand
dignitaries including Auckland
Mayor Len Brown.
GREEN DRAGON LAUNCH
AND MEDIA EVENT
TELEVISION INCENTIVES
VISIT TO LA
Film NZ attends opening of the Green
Dragon pub at Hobbiton in Matamata,
participates in press conferences and
interviews with international media.
Work commenced following
PM’s visit.
NEW ZEALAND HOME OF
MIDDLE-EARTH
Film NZ launches new ‘New Zealand
Home of Middle-earth’ website.
KOCCA (KOREA)
DELEGATION VISITS
HOBBIT WORLD PREMIERE,
WELLINGTON
Visit by delegation from
the Korean Creative
Content Agency.
The Hobbit: An Unexpected Journey
world premiere held in Wellington;
implementation of media programme.
BEST SUPPORTING
COUNTRY, CAMPAIGN
LAUNCH
EMPEROR DINNER
Supported by TelstraClear,
dinner to celebrate
completion of the film. Ngila
Dickson and Tim Coddington
attend from AKL.
Film NZ multimedia campaign,
newspaper ads in the Dominion
Post, NZ Herald and Otago Daily
Times, celebrating the role of
New Zealanders in The Hobbit: An
Unexpected Journey. In partnership
with Fujitsu and Telecom.
AIR NEW ZEALAND
HOBBIT SCREENING IN LA
Film NZ attends Air New Zealand
screening in LA.
2013
EMPEROR
RELEASED IN US
NEW ZEALAND:
INSPIRING
FILMMAKERS
Rob Tapert mini site launched.
HELSINKI
TRAVEL FAIR
Gisella Carr speaks about
New Zealand’s experience
with The Hobbit and meets
with key Finnish producers
and agencies.
BEST SUPPORTING
COUNTRY FACEBOOK
COMPETITION
CELEBRATION
OF NEW ZEALAND
CULTURE AND FILM
Held at Paramount Studios
in recognition of the United
States New Zealand
Partnership.
DOC SUBMISSIONS
TOP OF THE LAKE
RELEASED ON US
SUNDANCE CHANNEL
LA CASTING
CONFIDENTIAL
Ad published in
The Hollywood Reporter.
SUNDANCE CHANNEL
RUNS COMPETITION
TO WIN A TRIP TO NZ
JANUARY
FEBRUARY
MARCH
Media Release: Spartacus:
War of the Damned sees more
than 2.5million US viewers
on its premiere weekend
as first episode debuts on
the STARZ Network.
NEW ZEALAND HOME
OF MIDDLE-EARTH
Updates continue to
New Zealand Home of
Middle-earth website.
Film NZ and the NZFC support
opportunity for Australian and
NZ performers to learn from
top US casting directors.
APRIL
NEW ZEALAND:
INSPIRING
FILMMAKERS
JUNE
Film NZ launches Peter
Webber/Emperor minisite.
FILM INDUSTRY HITS
$3 BILLION HIGH
AFCI LOCATIONS
TRADESHOW 2013
Media Release: New Zealand
screen industry earnings
break the $3 billion barrier for
the first time.
Film NZ attends.
EVIL DEAD DEBUTS AT
#1 AT US BOX OFFICE
NZ INC. –
AMERICA’S CUP
Film NZ assists in screen
display at America’s
Cup Village.
NZSO A DRAWCARD
FOR BLOCKBUSTER
Alex Heffes records the score
for The Tomb.
MAY
CASTING CONFIDENTIAL
STUDIO VISITS, TELEVISION WORK
SPARTACUS
PREMIERE STORMS
US RATINGS
Film NZ runs competition to
win a trip to New Zealand.
ROB TAPERT AD
FEATURED IN THE
HOLLYWOOD REPORTER
Film NZ makes public
submissions to DOC
Auckland, Northland and
Waikato regions.
Winners of signed poster
announced.
AFCI LOCATIONS
TRADESHOW
COMPETITION
NEW ZEALAND:
INSPIRING
FILMMAKERS
Peter Jackson ad in
The Hollywood Reporter.
FILMART,
MARCH 2013
Sue Thompson attends
FILMART in Hong Kong.
INCENTIVISING
NEW ZEALAND
TELEVISION
PRODUCTION
Report of Film NZ’s
recommendations to
Government presented,
19 March 2013.
‘WHY HOLLYWOOD
IS STAYING IN
NEW ZEALAND’
NZ feature in The
Hollywood Reporter.
AN ONGOING PRESENCE IN LOS ANGELES
Screen production is a huge global industry. The United States
overwhelmingly dominates, in terms of volume and types of large-scale
production, international distribution, and the sheer number of largebudget productions it films abroad.
New Zealand has been the location for a number of non-US
productions, but only the US industry can provide a regular
flow of production. The US continues to be New Zealand’s
largest international market, and North America consistently
contributes 80 to 90 per cent of all international screen revenue
to New Zealand.
For this reason, Film New Zealand prioritises the US, and
specifically LA, in carrying out our national film office roles.
We have been changing the way we undertake this work: both
doing more, and widening the range.
A key part of the strategic picture has been Film New Zealand’s
new on-the-ground representation in LA which commenced at
the start of 2012. In partnership with Park Road Post Production,
Film New Zealand is sharing the expertise of Vicki Jackways in
the entertainment capital.
The initiative is part of Film New Zealand’s industry
partnerships programme, working with industry partners for
whole-industry gains.
Also crucial are visits. In 2012/13 the Film New Zealand team
achieved almost continuous representation in the US, including
extensive business meetings and strategic events, culminating
in working with our American customers setting up the Prime
Minister’s visit, and issuing the subsequent report to the
government, Incentivising International Television Production.
Film New Zealand has established substantial relationships
in the US screen industry, and over the two and a half days of
the Prime Minister’s visit alone we hosted more than 200 top
executives from the US screen production industry at the highest
levels of US production.
1. Film New Zealand CE Gisella Carr
speaks at the Film New Zealand-hosted
‘Frog and Frigate’ networking event.
2. Film New Zealand communications and
marketing director Roxane Gajadhar meets
with delegates at the Producers Guild of
America ‘Produced By’ conference.
3. Film New Zealand LA Representative
Vicki Jackways greets Prime Minister
the Rt Hon John Key at The Walt
Disney Studios.
1
“In my 24 years in the
animation business I
have never seen so much
progress for the sector as
in 2012, and personally my
two trips to Los Angeles
with Film NZ have been
the year’s highlights!”
Brent Chambers, Flux Animation
Film New Zealand present in LA:
2012: February, April, May, June,
July, September, October, November
and December
2013: February, May and June
Keynote Film New Zealand events: 11
2
3
THE PM’S VISIT
1
2
The growing importance of the screen industry to New Zealand was
highlighted in 2012 by the Prime Minister Rt Hon John Key’s visit to
Los Angeles to meet with the heads of New Zealand’s major US screen
customers. We were delighted when the Prime Minister accepted Film
New Zealand’s invitation to speak with Hollywood decision-makers to
increase the awareness of screen production in New Zealand.
This was a significant milestone for New Zealand. A first for our
screen industry, it sent a strong signal to our US business partners
that the New Zealand Government values screen business.
It was an opportunity for meaningful dialogue with
New Zealand’s screen business partners about
working with New Zealand and allowed the
Prime Minister to hear first hand from industry
heavy-weights about what drives their business.
A highlight of the trip was a private dinner cohosted by Film New Zealand and filmmakers James
Cameron and Jon Landau, with studio heads, CEOs
and senior US screen industry representatives.
Rob Tapert, Sir Richard Taylor and Joe Letteri also
attended, and Sir Peter Jackson made an appearance
by video-link.
The Prime Minister’s whistle-stop tour included
visits to three studio lots, Sony Pictures Studios, The Walt Disney
Studios and Warner Bros Studios.
An industry function, supported by New Zealand’s Consul General
in Los Angeles, Leon Grice, saw the gathering of senior executives
from Paramount Pictures, Sony Pictures Entertainment,
Twentieth Century Fox, The Walt Disney Company, Warner Bros
Entertainment, and Universal Pictures, along with representatives
of United States film and television production companies,
clients of New Zealand businesses, and New Zealand businesses
working in the US.
1. Rt Hon John Key tours the Disney lot with Senior Vice
President of Physical Production and Finance Paul Steinke.
2. Producer Jon Landau, Rt Hon John Key and Director
James Cameron.
“People in Hollywood were able
to see there is a face behind
the government, a face behind
initiatives… It really spoke
to the studio heads and said
New Zealand is a country
which is committed to making
production work.”
Jon Landau, New Zealand Herald, January 24, 2013.
WORKING WITH ASIA
1
2
Asia is a growing international market for New Zealand. During 2012/13,
Film New Zealand’s efforts there were focused on supporting New Zealand
businesses with their existing partnerships, and representation at targeted
markets and events and hostings in New Zealand. Time was also spent
furthering the working relationship between South Korea and New Zealand
and building connections in India and China.
BIFCOM – South Korea
Asia-Pacific Producers’ Network
Film New Zealand’s 2012 presence at BIFCOM Asian Film
Market, in partnership with New Zealand Trade and Enterprise,
marked a decade of representation at this event. The New Zealand
function was attended by Korean and New Zealand dignitaries
and filmmakers, including Ambassador Patrick Rata, Auckland
Mayor Len Brown, and Director Oh Seok-geun of the Busan
Film Commission. The event celebrated 50 years of diplomatic
relations between South Korea and New Zealand. The
landmark signing of a memorandum of understanding between
New Zealand production company Gibson Group and Korea’s
Cine2000, confirmed their intention to co-produce three films
over five years. Consultant producer Sue Thompson represented
Film New Zealand and was MC for the New Zealand function,
which was part of the official programme. She also represented
New Zealand at the Asian Film Policy Forum, and Asian Film
Commissions Network General Assembly.
Film New Zealand was represented by Sue Thompson at the
seventh annual Asia-Pacific Producers’ Network conference,
which was held in Taiwan for the first time in November 2012.
The event attracted more than 40 members and producers from
nine countries. The conference offered regional overviews from
China, Korea, Malaysia, New Zealand, Australia, Taiwan, Japan
and Singapore, which explored leveraging existing funding and
incentives and maximising opportunities for forging partnerships
by establishing co-production treaties between member countries.
Overall, New Zealand was considered a great success story in
attracting foreign production.
Indian Film Bazaar
Film New Zealand Enquiries Manager Robin Murphy attended
the Indian Film Bazaar, held in Goa from 21 to 24 November, as
a guest of the New Zealand Film Commission. She was able to
offer practical advice to Indian filmmakers considering bringing
production to New Zealand. New Zealand Film Commission Chief
Executive Graeme Mason gave a presentation on New Zealand
during the Knowledge Series Seminars.
3
1. Producer Lee Choon-yun, Dave Gibson and Kevin Chang at
the New Zealand Film Reception at BIFCOM.
2. Dignitaries at the Film New Zealand reception at BIFCOM.
3. Joe Khera, Little Red Car Films; Robin Murphy, Film New
Zealand and Puneet Rakheja, Little Red Car Films attend the
Indian Film Bazaar in Goa, India.
4. Jun Zhao (front centre) of the Guangdong Zhujiang Film
and Media Corporation with his delegation and future
colleagues at the Pukeko Pictures, Film New Zealand and
New Zealand Film Commission hosted evening in Wellington.
FILMART
FILMART in Hong Kong was attended by representatives from
Film New Zealand and the New Zealand Film Commission in
March 2012, and again by Sue Thompson in 2013. Meetings were
held with producers, key stakeholders in the Hong Kong screen
industry and members of the Asian Producers Network (APN) who
had visited New Zealand for the APN conference in 2011.
4
Korean Creative Content Agency
The Korean Creative Content Agency, a creative arts organisation
promoting the development of creative content for Korean
companies and individuals, visited New Zealand with a delegation
of post-production and visual effects specialists in October
2012. Film New Zealand arranged meetings with special
effects houses in Wellington and hosted a dinner with domestic
screen industry members.
Business to business relationships
In February 2012, Sir Richard Taylor’s entertainment production
company, Pukeko Pictures, hosted a delegation of senior executives
from China. Film New Zealand, and regional film offices along
with the New Zealand Film Commission assisted Pukeko Pictures
by introducing the delegation to local screen industry members.
In June, Pukeko Pictures agreed to form an international
animation technology research centre with the animation
school of the Beijing Film Academy and a Chinese media partner,
Grand Entertainment.
Forging a relationship with China
Film New Zealand participated in the strategy group spearheaded
by New Zealand Trade and Enterprise to look at the Chinese screen
industry. In March 2013, NZTE published an opportunity analysis
of China’s film, TV series and animation market. We would also
like to acknowledge the good work being done on a regional level
with the signing of a memorandum of co-operation between
Auckland Tourism, Events and Economic Development and the
City of Shenzhen.
LEVERAGING THE HOBBIT TRILOGY
1
The Lord of the Rings established the reputation of New Zealand’s screen
industry and put New Zealand on the map as the home of Middle-earth.
Building on this legacy, Sir Peter Jackson’s Hobbit trilogy is providing an
unparalleled chance to develop promotional messages about New Zealand.
As one of the largest movie undertakings in the world, The Hobbit trilogy
showcases the skill of New Zealand’s screen industry, its creativity,
innovation and capacity to carry out screen projects of scale. The
world premiere of The Hobbit: An Unexpected Journey in Wellington on
November 28, 2012 shone the international spotlight on New Zealand.
In 2012, Film New Zealand joined NZ Inc. agencies working alongside
the filmmakers to showcase New Zealand as a great place to visit, do
screen business and invest.
The NZ Inc. group was helmed by Tourism New Zealand, with Film
New Zealand leading the film stream and New Zealand Trade and
Enterprise leading business leveraging, with partners the Ministry of
Foreign Affairs and Trade, the New Zealand Film Commission, and the
Ministry of Business, Innovation and Employment.
While activities were focused on opportunities surrounding the Warner
Bros media programme, the NZ Inc. media programme also sought wider
opportunities for pre-and post-premiere publicity.
NZ Inc. agencies created a bespoke digital broadcast roll for media
featuring New Zealand companies working on the production, and
interviews with international businesses, designers, innovators and
financiers involved with the films. The broadcast roll covered their
experiences of working and investing in New Zealand.
During the filming of The Hobbit:
An Unexpected Journey
• 99 sets were built
• 6750 domestic flights were taken
• 19 commercial properties were leased long term
• 93,000 hotel bed nights were sold
• 1800 rental cars were hired
• 1650 work vehicles were used
• $380,000 was spent on coffee
• $9,180,000 was spent on set construction
materials (with local suppliers)
• approximately 16,000 days were worked by
New Zealand actors
• $1,450,000 was spent with local food suppliers.
1. Courtenay Place on premiere day,
photo courtesy of Positively Wellington
Tourism, photographer Jeff McEwan.
2. Sir Peter Jackson at the premiere
of the Hobbit: An Unexpected
Journey, photo courtesy of Positively
Wellington Tourism.
3. The Green Dragon in Hobbiton.
4. Opening of the Green Dragon
in Hobbiton.
“The whole country has reason to applaud Jackson, who has put
New Zealand on the map as a production centre with a growing
infrastructure.” The Hollywood Reporter (October 2012)
2
3
The filmmakers’ own Hobbit production blogs and trailers
showcased New Zealand screen for industry and fans around the
globe. We used these resources both online and at trade events to
promote New Zealand’s screen industry.
Sir Peter Jackson’s six-minute special tourism feature was
distributed on the DVD release of The Hobbit: An Unexpected
Journey from 19 March. It was posted online and featured in Film
New Zealand’s Tradeshow and promotional campaigns.
Film New Zealand also launched its new ‘New Zealand: Home
of Middle-earth’ site to capitalise on interest in The Hobbit: An
Unexpected Journey.
The world premiere
During the world premiere of The Hobbit: An Unexpected Journey,
more than 70 media outlets (40+ broadcast and 30+ print/online),
with a combined reach of hundreds of millions of people, attended
the premiere as part of the Warner Bros Pictures accredited
media programme. Film New Zealand and the New Zealand Film
Commission hosted more than 40 screen industry guests at the
world premiere.
Hobbiton
Following the premiere, international media were farewelled at a
function in Hobbiton, Matamata. More than 80 international and
local media attended this NZ Inc. opportunity to showcase this
iconic location and film set. Film New Zealand participated in
press panels and interviews, providing context for the film within
the New Zealand screen industry.
About 120 guests attended the VIP function to officially open
the Green Dragon pub, including media, actors, Warner Bros
executives, NZ Inc. and Air New Zealand senior staff.
“Nowhere is filmmaking
big enough to move a
national economy. But in
New Zealand, add movies to
another business – tourism
– and there is potential for
transformative economic
growth.” The New York Times, 2012
4
Film and Tourism
Tourism New Zealand’s investment in marketing New Zealand
alongside The Hobbit trilogy is paying off in terms of visitor
motivation and arrivals. Figures released in June 2013
tell the story:
• International Travel and Migration data from January-April
2013 shows holiday arrivals up by 10 per cent on the
previous year (up 23 per cent from the United States).
• Tourism NZ’s Active Considerer Survey reports 82 per cent
of respondents say the campaign increased their interest in
New Zealand.
• International Visitor Survey for January-March 2013 shows
8.5 per cent of all international visitors to New Zealand say
The Hobbit trilogy stimulated their interest in New Zealand as
a destination.
Estimated advertising value from traditional media
leverage for November 2012–January 2013 was
more than NZ$20m.
Social media (stories generated by Tourism
New Zealand and partner/media activity about
New Zealand) is valued at more than NZ$1m.
The Hobbit: An Unexpected Journey has earned more
than $1 billion at the international box office.
OUR SPECIALIST ENQUIRIES SERVICE
Film New Zealand’s core business is maximising and supporting
international screen production in New Zealand. We are very active in
generating and pursuing leads and projects. Key to this is our on-the-ground
representation in Los Angeles, the back-up we provide to New Zealand
companies with their projects, and the significant overall expansion of our
activities over the last two years.
Much of the work we do is to help filmmakers understand the
creative and economic strengths of New Zealand: incentive
advice, costing their production in New Zealand dollars; helping
them understand how, for instance, the absence of fringes will be
good for their bottom line; showcasing New Zealand’s locations
and talent, or assisting with other commercial partnerships in
New Zealand.
Who do we help? Obviously, offshore companies and individual
filmmakers, but we also work closely with New Zealanders and
New Zealand companies and their international business partners.
Film New Zealand is rigorous about assessing projects and
priorities in terms of the level of assistance we provide. The
further along a project is in its development and financing, the
more eligible it is for Film New Zealand support such as production
budgeting and location scouting services, recce assistance,
arranging meetings with crew and service providers and other
bespoke services.
PERSONAL
CONTACTS
TRADE SHOWS
This is detailed, specialist film work and in addition to our own
screen specialists in Wellington, Auckland and Los Angeles we
employ other New Zealanders (international line producers,
location scouts and budget advisors across a range of disciplines)
on specific projects as they move through our pipeline, towards
production and the moment projects appoint their own
New Zealand crew. In 2012/13, we employed eight New Zealand
international line producers and locations scouts, and
consulted informally with 23 more on multiple projects. We also
automatically involve regional film offices in enquiries relevant to
their region and areas of expertise.
Requests are often urgent or time-sensitive. Film New Zealand’s
goal for its enquiries service is to respond to a production enquiry
within 24 hours. We have a record of meeting this goal 100 per cent.
STUDIO
RELATIONSHIPS
ONLINE
DOMESTIC
INDUSTRY
LA REPRESENTATIVE
AUCKLAND
REPRESENTATIVE
ENQUIRIES
PREVIOUS
CLIENTS
We are meeting Government objectives when important international screen projects are
seriously considering New Zealand. Film New Zealand deals with a significant volume of
high-value enquiries from international and New Zealand screen businesses each year.
Film New Zealand is proactive in pursuing such projects and our presence in Los Angeles
and our work with New Zealand companies on their projects is vital.
The last year: July 2012 to June 2013
The last two years: July 2011 to June 2013
In the 2012/13 financial year Film New Zealand’s enquiries team
handled a total of 459 new enquiries, 72 more than the previous
year. Of these, 178 were new screen projects (up 17), including
34 that were New Zealand domestic productions. Just under
one third of these domestic productions included assistance to
local television commercial companies. Thirty eight per cent of
this year’s new projects came from the USA, an increase of 3 per
cent on 2011/12.
As always, an assessment of individual projects being assisted
by Film New Zealand reveals the often lengthy period before a
production is green lit. Over the last two years, of the projects
which have received bespoke assistance from Film New Zealand:
Thirty eight (all live action shoots) of the 178 new projects were
provided with in-depth bespoke assistance. Of these 38, relatively
more were television compared with last year, as shown below. We
assisted four recces, two for productions which went on to confirm
New Zealand as their production home, while the other two are
still in development.
In-depth assistance to new projects
by type
40
35
TV
TV
Feature
films
Feature
films
2011/12
2012/13
30
25
20
15
10
5
0
nine productions have been or are being made here
13 productions, actively in development, are considering
New Zealand
a further 13 have gone on to shoot in other countries (for reasons
to do with unsuitable locations, seasonal timing issues or
financial factors including incentives)
New Zealand is no longer in consideration for a final 13 projects
which are still in development.
A further 40 projects have been classified as “dormant”; these are
on hold because of factors that are unrelated to New Zealand but
generally to do with production issues such as finance not being in
place or the director withdrawing from the project.
“Film New Zealand provides an
invaluable service to domestic and
international producers. Pukeko
has enlisted the support of Film
New Zealand recently to quote a
budget for a potential TV series, and
our Canadian client commented that
the budget was exactly how he would
like to see it presented. This support
has been critical in moving this
project forward. I am continuously
impressed how much Film
New Zealand achieves with limited
funding.” Andrew Smith, Pukeko Pictures
EMPEROR: ENQUIRY CASE STUDY
1
2
3
The film Emperor was an ambitious international production made in
New Zealand during 2012. Film New Zealand was involved from the initial
enquiry through production, post-production and release. The film provides
a useful case study showing how our enquiries service works to assist
international productions considering New Zealand.
The Emperor enquiry
Emperor is set in American-occupied Japan during the days
following Emperor Hirohito’s World War II surrender. Producers
Yoko Narahashi, Gary Foster (Sleepless in Seattle) and Eugene
Nomura and director Peter Webber (Girl with a Pearl Earring)
were looking for a place to recreate post-war Japan. They needed
diverse locations, from bombed-out Tokyo to General MacArthur’s
headquarters in the Dai-ichi Building. The project’s timing meant
it needed to be shot during the northern hemisphere’s winter
months, which didn’t fit the script, so they explored the southern
hemisphere for summertime locations. Of critical importance
was the ability to secure a high-calibre creative team, and the
reputation and experience of talented New Zealanders was a
paramount consideration.
Emperor starred Matthew Fox (World War Z, Alex Cross), Academy
Award winner Tommy Lee Jones (Lincoln, Hope Springs) and
newcomer Eriko Hatsune. The film was released in the United
States in March 2013.
With the exception of two days filming in Japan, the entire film was
shot at 32 locations in Auckland, sites in Wellington and Hamilton,
and the Auckland Film Studios.
Days shooting in New Zealand: 40
Crew numbers: 270
Cast numbers: 45 including 24
New Zealanders + extras
Total number of New Zealand cast
and crew: 287 + extras
1. Raintowers at Auckland Film Studios,
photo courtesy of Fellers Film LLC.
All rights reserved.
2. Tommy Lee Jones as General Douglas
MacArthur, photo courtesy of Fellers Film LLC.
All rights reserved.
3. Eriko Hatsune and Matthew Fox in a scene
from Emperor, photo courtesy of Fellers Film
LLC. All rights reserved.
May 2011
Initial email contact (on related project).
June 2011
Follow-up and meetings arranged during Locations Tradeshow in
Los Angeles.
Film New Zealand commences handling the enquiry in detail,
providing information on incentives and locations and commissioning
a draft budget.
August 19–24, 2011
Producers Yoko Narahashi, Gary Foster and Eugene Nomura and director
Peter Webber conduct a location recce of New Zealand with Film
New Zealand, supported by regional film offices.
Auckland’s former Southdown Freezing Works is scouted as the site for
bombed post-war Tokyo.
Academy Award-winning production designer Grant Major and costume
designer Ngila Dickson, Oscar-nominated cinematographer Stuart
Dryburgh, and line producer Tim Coddington sign on for the project.
August 29, 2011
Project confirmed to come to New Zealand.
October 2011
Pre-production begins.
Film New Zealand helps broker Wellington’s Massey University campus to
become General MacArthur’s Tokyo headquarters.
January 30, 2012
Eight-week shoot commences in Auckland, Hamilton and Wellington.
June – August 2012
Post-production under way at Park Road in Wellington.
June 2012
Film New Zealand interviews producer Gary Foster to assist in promoting
New Zealand as a screen production destination to US producers and
studios.
September 2012
TelstraClear sponsors final Film New Zealand dinner for producers,
director and key New Zealand and post-production crew.
Producer Eugene Nomura, Massey University representative Claire Robinson, Film
NZ CE Gisella Carr and producers Gary Foster and Yoko Narahashi.
Gary Foster, Producer:
‘Our experience started with a recce that was sponsored by Film
New Zealand, who have been fantastic throughout this entire
process. We came down and looked at different regions of the
country. One of our concerns was we knew that Peter Jackson’s
film The Hobbit was in production, and were we going to be able to
get the quality of crew and cast that we needed? It turned out that
we had zero issues with that.
‘We came to New Zealand at the end of the day because of a few
factors. One, financially we were in a much better situation, in
terms of getting bang for our buck on our budget. Two, we had very
specific creative issues we needed to deal with on our locations,
which New Zealand was able to fulfil. And three, we wanted to
make a high quality prestige film that needed the highest quality
of cast and crew to make it happen. And all those three things we
found in the New Zealand film community.’
Peter Webber, Director:
‘It was a combination of things we were looking for, we had a
window in which we had to make this film, and we needed summer,
because the film is August 1945. So that limited us, it meant that
we couldn’t look in North America, because it was going to be
winter, we’re not going to be shovelling snow to try and pretend it’s
summer… but there’s a lot of the rest of the world to look at.
‘I didn’t really know much about the country itself before I came
here. Both the crews and the facilities have exceeded expectations,
above and beyond.’
Cinematographer Stuart Dryburgh, director Peter Webber, and art director Jill Cormack
and location scout Mike Holloway (obscured) on a recce at Massey University.
Film New Zealand stills and video shoot with director and producers.
October 2012
Emperor imagery included in Film New Zealand international
marketing collateral.
March 2013
US release
Film New Zealand advertising and promotional campaign (including The
Hollywood Reporter ) and launch of a bespoke website with images and
video content (New Zealand: Inspiring Filmmakers).
KEEPING NZ SCREEN-BUSINESS-FRIENDLY
Film New Zealand undertakes initiatives with screen businesses and
government agencies to ensure New Zealand’s friendliness to screen business
and the ease of working here are the best they can be. This ranges from
facilitating information flow to detailed research and advisory papers.
The Department of Conservation
Immigration New Zealand
Statistics New Zealand
Mountains, snow, lakes, grass flats,
wetlands – many memorable locations for
New Zealand-made films are on publiclyowned land. For the screen industry this
means it is crucial to have a working
relationship with the Department of
Conservation (DOC).
Changes to New Zealand’s immigration
rules in 2012 meant the screen industry
had to learn to navigate a new system in a
short time.
The importance of accurate and verifiable
statistics in quantifying and interpreting
New Zealand’s screen industry is vital,
not just to talk about the economic
value of New Zealand’s screen industry
internationally, but for government and
public understanding of the economic
value of screen.
2012/13 saw the fruit of a strategic
decision by Film New Zealand to engage
directly with DOC staff at head office and
local conservancy levels well in advance
of specific projects. DOC workers have a
complex job creating systems and rules
that work for a huge variety of users, and
we wanted to ensure that they understood
the specific issues faced by the screen
industry.
Film New Zealand worked with DOC’s
national and local staff on conservation
management strategy plans and aircraft
zones in advance of the publication of these
policies. We created an advisory group of
location scouts, working closely with Film
Otago Southland and Film Auckland. This
has involved a lot of work and resources, so
it is very pleasing to have made significant
tangible gains, with an understanding
of screen industry needs reflected in
conservation management strategy plans
that are being gazetted.
The DOC National Planner and other
national staff, including the commercial
partnerships director and his staff, have
been of great assistance in developing
ways of responding to the specific needs of
the screen industry.
To help communicate the new rules,
we arranged screen industry forums in
Auckland, Wellington and Queenstown,
and provided ongoing input and assistance
to Immigration New Zealand (INZ) as new
processes were introduced. This drew on
our surveying and coordination of input
from the television commercial industry.
We also kept the industry informed about
upcoming changes to visa processing.
In the past year, about a third of visa
applications submitted via the Los
Angeles office were for entertainment
visas under the Specific Purpose Category.
Maintaining hands-on problem-solving
at the LA end is therefore very important.
Film New Zealand surveyed various
New Zealand companies regarding
the need for an LA-based immigration
position. When third-party processing
was introduced, we circulated the advisory
and secured an INZ “go to” person here in
New Zealand for any teething problems.
Earlier this year, INZ opened a new
Visa Application Centre in Los Angeles
and issued an advisory which Film
New Zealand disseminated to industry.
INZ is continuing to look at service
delivery enhancements to make it
easier for customers from the film and
entertainment industry to do business
with New Zealand.
Film New Zealand has been a member
of the Statistics New Zealand Screen
Industry Survey stakeholders committee
since the survey’s inception, and this role
continued in 2012/13, as we sought to find
ways to better understand and interpret
the industry. Work involves clarification
and interpretation of categories and
classification, and also assisting
with media and publicity around the
survey’s release.
In 2012/13 this included media and
communications about the new
assessments of screen industry
employment figures, and release of the
2012 survey in April 2013. Statistics
New Zealand has supported the work of
the screen industry by fact checking and
interpreting data on a regular basis where
Film New Zealand or other screen industry
businesses are required to comment
on screen-related statistics. We also
communicate with industry to reinforce
the survey’s importance.
The one-stop-shop government screen desks at Inland Revenue and Immigration New Zealand (which Film New Zealand
played a central role in setting up) continued to provide frontline assistance to the New Zealand screen industry
on specific projects. Our ongoing thanks to Carl Andrews (Immigration New Zealand), Cherry Hankins (Immigration
New Zealand, Los Angeles), Jim Gordon and Vince Costa (Inland Revenue) and numerous other officials from many
agencies who regularly help Film New Zealand and the screen industry resolve issues and realise opportunities.
REGIONAL FILM OFFICES
In the 2012/13 financial year Film New Zealand provided a wide range of
coordination services to the network of regional film offices offering local
support to incoming productions.
Summary of activity
Film New Zealand/Regional
Film Office Annual Forum
Wellington 27 and 28 August, 2012. Film
Auckland’s Michael Brook was invited to design
the programme. Sessions included strategy
and priorities for the year, achievements
from previous years, strategies in specific
markets (the US), DOC, briefings by Tourism
New Zealand’s Catherine Bates and Roxane
Gajadhar on the upcoming Hobbit leveraging
programme and strategy, and an independently
facilitated session exploring the FNZ/RFO
relationship. External speakers from MBIE,
Local Government New Zealand, Tourism
New Zealand and the Regional Tourism Offices,
and transmedia expert Fiona Milburn also
joined the conference.
Conference calls
Film New Zealand hosts six-weekly conference
calls. Typically lasting an hour and half, they
allow the exchange of detailed information.
Standing agenda items include strategy,
production enquiries, the current production
calendar, and marketing campaigns.
Regular contact on specific
projects or enquiries
Film New Zealand routinely:
• consults individual RFOs on enquiries
relevant to their areas, for example on
possible locations and location images –
25 enquiries during 2012/13
Tradeshows
Joint Advertising Campaigns
Film New Zealand funded RFO representative
Kevin (KJ) Jennings of Film Otago/Southland to
attend the AFCI Locations Tradeshow and ‘Frog
and Frigate’ mini-major studios function in Los
Angeles in June 2012.
Film New Zealand co-ordinated joint campaigns
in the US Creative Handbook, Locations
Magazine, and Beyond Cinema Magazine in
2012–2013.
Film New Zealand set up a national stand
at tradeshows, from which representatives
operated. Film New Zealand coordinated
briefing conference calls, a planning meeting
in LA, leads and follow-up, and shared
staffing of the stand, advance mail-outs to the
New Zealand screen industry, and invitations to
overseas industry.
Leveraging The Hobbit Trilogy
Film New Zealand provided a similar service
with a national stand at BIFCOM Asian Film
Market in South Korea in conjunction with
NZTE. The event was attended by Michael
Brook and Harry Harrison from Film Auckland/
ATEED and Sue Thompson on behalf of Film
New Zealand. Film New Zealand and NZTE
hosted a New Zealand function attended by
Auckland’s Mayor, Len Brown.
RFO representative
Dedicated position on Film New Zealand
Board; regular meetings and conference calls
throughout the year. The RFOs nominated
a new representative after the incumbent
resigned in May. An appointment is pending.
RFOs were involved in briefings, preparation
of international media kits, and creation of
broadcast roll footage prepared by Tourism
New Zealand (material featured filming
locations from The Hobbit: An Unexpected
Journey in Nelson/Marlborough, Wellington and
Queenstown, as well as interviews).
Film Wellington and business development
agency Grow Wellington hosted a very
successful networking event Untold Tales at the
Paramount Cinema, for the region’s screen and
other related businesses.
Facebook and website updates
Re-posting and amplification of
regional content.
Other
Distribution of industry updates and
media releases.
Engagement with DOC, particularly by Film
Otago Southland and Film Auckland, is covered
elsewhere in this report.
• informs RFOs if recces are coming to their
areas, where they will generally be involved
(unless contrary to specific sensitivity
requirements of the production company)
• work with RFOs on hosting industry visits
(e.g. Pukeko Pictures Chinese delegation,
Air New Zealand and Heritage Hotels
competition winner and producer Ron
Bozman (Silence of the Lambs )
Recces
Film Otago Southland assisted with recces for
Four for the Road and Slow West.
The New Zealand stand at the
AFCI Locations Tradeshow,
June 2012. Back row: Michael
Brook, Gisella Carr, Nicci Lock,
Vicki Jackways, Harry Harrison
Front: Robin Murphy, Roxane
Gajadhar, Kevin (KJ) Jennings,
Vicki O’Hagan (Park Road Post
Production)
THE GOVERNMENT SCREEN SECTOR REVIEW
The screen business is a dynamic, 21st-century industry, and one most countries
want. New Zealand can be very proud of its reputation and achievements.
However it is an intensely competitive business. No screen industry anywhere
in the world can expect to achieve growth without ongoing collaboration with its
government. Both parties need to work together to make it happen.
Without government financial incentives, the New Zealand screen
industry would not exist as we know it. International productions
are critical for growth – they have been instrumental in building
our industry to its current level of economic contribution, and
allowing it to stretch creative and technical muscles on budgets
that far exceed those of domestic productions.
International screen production is a buyer’s market; production
companies can pick and choose where they film. This has led to
fierce global competition, with many countries vying for lucrative
business. New Zealand doesn’t set the terms of engagement
here. While script, capability, locations, seasonality, and timing
have to line up as well, if there were no incentives, international
productions would not consider coming here.
For this reason, the Government’s screen sector review was a
major focus for Film New Zealand in 2012 and the first half of
2013. In addition to advocating specific outcomes, we sought to
ensure the domestic screen industry’s perspective was heard, and
that the government received input into the review from industry
specialists, from both the New Zealand and the American screen
industries. National agencies such as ours were also asked to
provide extensive data, fact-check reports and participate in
Image courtesy of New Zealand Film Connection
meetings and discussions. The performance of Film New Zealand
itself was part of the subject of the review. We estimate that
servicing the screen sector review has had a large impact
(representing over 10% of its budget) on Film New Zealand. We
appreciate that MBIE provided some additional assistance in
commissioning comment from Film New Zealand (notably the
Incentivising International Television report) and towards the
costs of updating incentives-marketing collateral.
Major actions taken
Creation and co-ordination of a collective of eight of the leading
international New Zealand post production, digital and visual
effects companies to comment on the Post Digital and Visual
Effects Grant.
Invitation to the Prime Minister to meet directly with
New Zealand’s major US screen industry customers, then the
organisation of his Los Angeles programme.
Coordinating the voice of the customer: direct input from
the US and NZ screen industries into Film New Zealand
recommendations.
1
2
1. Film New Zealand’s major study,
Incentivising International Television
Production in New Zealand.
2. Film New Zealand representatives
with chairman of The Walt Disney
Studios Alan Horn and Rt Hon
John Key in discussion at The Walt
Disney Studios.
New Zealand’s Post, Digital and Visual Effects Sector: Film
New Zealand submission on the PDV Grant from discussions with
the PDV Collective
Incentivising International Television: major study, Feb 2013
and ancillary comments March 2013
Work for government screen sector review agencies
Assisting with interviews with industry representatives.
Feedback on the review’s terms of reference.
Written technical comment on the Evaluation of the Large
Budget Screen Production Grant 2004–2011.
Organising meetings and providing input on ministerial reports.
Meeting with the Ministry for Culture and Heritage and
reviewing its submission on the review of co-production
agreements, including tabling of industry feedback on barriers
and impediments to maximising use of existing treaties.
Providing research and feedback to MCH’s Screen Production
Incentive Fund Evaluation Report and the discussion paper
from the Ministry of Economic Development, Growth and
Dynamics of the New Zealand Screen Production Industry.
Holding meetings and providing input into the evaluation
of the Large Budget Screen Production Grant 2004–2011
discussion paper.
Updating a counterfactual study, completing an inventory
of productions assisted by Film New Zealand since 2002,
specifying assistance provided in terms of screen sector
and government agency engagement for each production,
describing activity by North American studios and countries
(detailing spending and employment information), research and
calculation of the impact of production shooting in New Zealand
including employment and production spending, and correlation
of the evaluation’s findings with exit surveys.
Input into review of Film New Zealand.
Input on international television attraction and publicity
material delivery requirements for productions utilising the
LBSP and PDV production incentives.
Praise for Film New Zealand’s work in screen
sector review
Film New Zealand’s own performance was examined as part of the
screen sector review.
The review affirmed our international standing as the national
film office and the high value both the government and our industry
place on what we do and achieve. The assessment concluded that
Film New Zealand carries out its work to a high standard and
has an established reputation as the international marketer of
New Zealand as a screen production destination.
The government has subsequently extended Film New Zealand’s
contract for a further three years and increased its funding.
Major findings were that Film New Zealand’s
services are highly valued by the international clients
interviewed (US studios, producers and filmmakers)
activities contribute to the generation of investment in
New Zealand and are leveraging the government’s investment in
the Large Budget Screen Production Grant
primary functions are considered critical by the New Zealand
film industry to attracting and facilitating large-budget
screen productions
activities and associated outcomes could be more widely
communicated to domestic industry
contribution to government policy and operational processes
related to the screen industry has been appreciated by
government agencies. We are viewed as a reliable conduit of
industry feedback.
establishment of a Los Angeles office in 2011 in partnership with
Park Road was an astute use of public and private resources.
We found it valuable to reflect on the findings and
recommendations, and the board looks forward to implementing
changes and improvements to our services in the coming year.
We are delighted by the review’s recognition and assessment of
the work Film New Zealand does on behalf of the New Zealand
screen industry.
BEST SUPPORTING COUNTRY
Screen is a $3.29-billion
industry, which attracts
investment in New Zealand,
helps support local
businesses and in addition
helps promote our country
to the world as a tourist
destination. As a nation
it’s something we can be
incredibly proud of.
No industry works in isolation. Without the
support of numerous individuals, local and central
government agencies and New Zealand businesses
and industries, our work could not happen.
And in the end, it is the goodwill of our fellow
New Zealanders and their willingness to see
their streets closed, their conservation estates
filmed and their tax dollars utilised, that support
New Zealand’s remarkable reputation as a centre of
excellence for screen production.
With the world-wide success of The Hobbit: An
Unexpected Journey and ever-increasing interest
in New Zealand as Middle-earth, it is important to
acknowledge that a lot of ordinary New Zealanders
who don’t necessarily work in the screen industry
have contributed to the success of these films.
Film New Zealand, the filmmakers themselves,
and our proud corporate sponsors, the Telecom
Business Hub and Fujitsu, decided to do just that on
the day of the premiere to show our appreciation.
The campaign highlighted just a few of the
hundreds of skilled everyday New Zealanders
who were crucial in the production of The Hobbit
trilogy. Selected by the filmmakers, some of these
individuals had supported film crews working
locally for more than a decade.
The core of the campaign featured three full-page ads in The
New Zealand Herald, The Dominion Post and The Otago Daily
Times on the day of The Hobbit’s release.
We extended the campaign’s scope across social media,
prime-time television, radio, 13 online news outlets and a
dedicated New Zealand: Home of Middle-earth website
(www.nzhomeofmiddleearth.com).
This multimedia campaign maximised exposure for
New Zealand as a nation of proud filmmakers. It received
the vital support of the filmmakers themselves, with Sir
Peter Jackson signing ten posters to be given away through
Film New Zealand’s Facebook page. With the help of the
filmmakers the campaign reached a potential collective
audience of more than 1.5 million.
“On behalf of Peter, Chris and North
Harbour Rentals, I would like to
express our sincere thanks for the
work you and your team put in on
this campaign. The end result far
exceeded our expectations. The
feedback we have received as a
company has been tremendous.”
Jason McKinney, Film Division Manager
North Harbour Rentals
Sometimes water is hard to
get when filming in remote
places. The team of experts
from the Glenorchy Fire
Brigade were on hand with
their gear to make sure that
there was always a plentiful
supply of it for the film
crew. Chief Fire Officer Dick
Watson has been a member
of the brigade since 1971
and says he’s lost count
of the different local and
international film crews he’s
worked with. ‘I never have
a shortage of volunteers for
these jobs. They’re always
such interesting experiences.’
Dick says film crews are
always grateful for the
help they get, and give the
voluntary brigade a donation
which they, in turn, use to buy
special equipment to improve
their service to the local
Glenorchy community.
PRINT
MEDIA
TELEVISED
MEDIA
BROADCAST
MEDIA
Best
Supporting
Country
campaign
The New Zealand
Herald
Full page ad
Daily Readership:
522,000
The Dominion Post
Full page ad
Daily Readership:
235,000
The Otago Daily
Times
Full page ad
Daily Readership:
103,000
Firstline on TV3
Poster and sponsors
featured on screen
Viewers approx 40,000
One News on TVNZ
Poster and sponsors
featured on screen
Actual viewers: 603,100
Radio New Zealand
Interview
Approx daily listeners
34,000
Photo Album
11,145 photo views
‘Thankyou’ sponsor post
2,454 photo views
Competition
589 actual views
Twitter
Two tweets about Best
Supporting Country
Tweeted to 14,436
extended followers
Professional
networks
eCard via email
Distrbuted to industry
members
Sponsor page
348 unique views
Photo album
4,428 unique views
Facebook
SOCIAL
MEDIA
ONLINE
MEDIA
NZ Home of Middle
Earth Website
NEW ZEALAND: INSPIRING FILMMAKERS
The uniqueness of New Zealand’s offering to filmmakers represents a clear
and exciting difference that inspires the world’s best filmmakers to work here.
In 2013 we launched the ‘New Zealand: Inspiring Filmmakers’ multimedia
campaign, to explore what it is about New Zealand that makes it so special.
We’ve been behind the scenes interviewing and photographing
international filmmakers in New Zealand, exploring the myriad
of reasons they’ve chosen New Zealand, documenting the projects
being made here and creating a narrative of the experience of
screen production in New Zealand. It is a chance for filmmakers to
speak directly to other filmmakers, as well as the public.
This involves working with individuals and production companies
to create dynamic, exclusive content for release through consumer
and trade channels, which reinforces knowledge of the calibre and
importance of New Zealand’s screen industry.
The series is ongoing and updatable. It is made possible by
the generosity of talented people willing to work with Film
New Zealand to create this content and trusting us with
their content.
During the first half of 2013, Film New Zealand released the
first three images in the series, featuring director Peter Webber
(Emperor), producer Rob Tapert (Spartacus and Evil Dead), and
Sir Peter Jackson (The Hobbit trilogy).
This multimedia campaign includes an image of the filmmaker
photographed in the location of their choice (with GPS coordinates), a print advertising campaign, online interviews and a
bespoke web landing page (filmmakers.filmnz.com) which features
exclusive behind-the-scenes imagery and content. We’ve promoted
it via social media and the filmmakers themselves have helped us.
Peter Webber
@PeterWebber
“New Zealand: Inspiring Filmmakers” – a
website by @FilmNZ built around Emperor –
Lots of photos and video
13 Mar 12
Peter Webber (who had just shot Emperor in New Zealand) was
the first filmmaker to be featured. The campaign kicked off with a
full-page ad in The Hollywood Reporter in March, timed to coincide
with the film’s release in the United States. The website went live at
the same time.
Exclusive location images are captioned and GPS co-ordinates
provided via Google maps. Social media is increasingly influential,
and the content was liked and shared on Facebook and Twitter by
both the filmmakers and Film New Zealand, and email blasts have
gone out via networks such as KEA (Kiwi Expats Abroad). This
was a prototype campaign for Film New Zealand, supported by
New Zealand Trade and Enterprise, the filmmakers and Park Road.
Since it was launched in March the site has had 9,981 visits with
21,564 page views. Almost a quarter of the visitors were from the
United States.
Above: Peter Webber, in the ad which featured
in The Hollywood Reporter on 22 March 2013,
photographed at the Michael Fowler Centre
in Wellington where he recorded the score for
Emperor with the NZSO.
Producer Rob Tapert featured in The Hollywood Reporter
on April 10, 2013, coinciding with the release of his feature
(a reboot of the cult classic) Evil Dead in the United States.
The web page features exclusive behind-the-scenes imagery and
interviews with Film New Zealand. It recognises Rob Tapert’s
two decades of work in New Zealand, since he was commissioned
by Universal Pictures in 1994 to film five Hercules movies here,
through to the incredibly successful Spartacus (2010–2012) and
remake of Evil Dead (2013). Evil Dead stormed the US box office to
hit number one on its opening weekend in April. This campaign
wouldn’t have been possible without the generous assistance of the
filmmakers and Digipost.
Sir Peter Jackson featured in the 26 June 2013 edition of
The Hollywood Reporter that hit newsstands the day before the
Locations Tradeshow in Los Angeles. Editorial included a feature
on why Hollywood loves New Zealand. Content is supported
by the New Zealand Home of Middle-earth website hosted by
Film New Zealand.
Spartacus was shot over four seasons in a studio in Auckland with not one frame shot on location. The production used 788 local suppliers,
leased 6 warehouses (which were converted for production), and provided 20,000 extras’ workdays. The series employed 350 permanent
and 150 casual crew each week, and 20 core cast each season. Overall, the production made a $200 million investment in New Zealand.
Post production and visual effects were done at Digipost in Auckland.
A SELECTION OF ADVERTISING CAMPAIGNS
While Film New Zealand has a modest advertising budget, we set our sights
on targeted industry publications to promote the breadth of New Zealand’s
offering, from locations and incentives to visual effects. The combined
distribution of the ad campaigns in 2012/13 was more than 700,000.
A selection of these campaigns is detailed below. We have continued to
partner with the Regional Film Offices in ad campaigns overseas.
1
2
3
4
1. Creative Handbook, 2013.
2. The Hollywood Reporter, April 2013.
3. Beyond Cinema Magazine, May 2013.
4. Beyond Cinema Magazine, January 2012.
Locations Magazine, January 2012.
5
6
7
11
8
9
5. Locations Magazine, May/June 2013.
6. OnFilm, May 2012. Creative Handbook 2013.
7. Creative Handbook 2012.
8. The Hollywood Reporter, June 2012. Beyond Cinema, June 2012.
9. The Hollywood Reporter, November 2011.
10. AFCI Locations Tradeshow 2012.
11. Beyond Cinema Magazine, June 2013. Producers Guild of America
‘Produced By’ Conference Magazine, June 2012.
10
COMMUNICATIONS
Film New Zealand has undertaken a wide range of activities with the aim
of raising awareness of New Zealand as a filmmaking destination and
communicating with the industry and the public both locally and internationally.
Communications have taken many forms: industry newsletters, seminars and
advisories, media releases and interviews, and social media engagement.
Media releases
Industry newsletters (quarterly)
Key industry news
Policy changes and updates
Tradeshow reports
Industry statistics
International industry communications
Newsletters
Invitations to events (BIFCOM, Locations Tradeshow, Casting
Confidential in Los Angeles, New Zealand Screen Showcase)
Follow up
Industry advisories
Seeing More of NZ Actors on Screen (series of four seminars)
Immigration seminars and communications (in three
NZ locations)
Immigration office opens in LA.
Film New Zealand opens LA office – January 2012
New Zealand’s international screen accolades signal a bright
future – February 2012
Chinese film delegation visit New Zealand to explore business
opportunities – February 2012
Young New Zealander cast in Sex and the City prequel –
March 2012
Film Agencies support ‘Seeing more of New Zealand actors on
screen’ – March 2012
Peter Webber: internationally renowned director to film in
Auckland – March 2012
New Zealand screen industry converting creative projects into
economic headlines – April 2012
Top cinematographers earn recognition – May 2012
Film New Zealand announces competition winner –
August 2012
PM to visit Los Angeles – October 2012
New Zealand take a bow – November 2012
Screen industry creating more than 23,000 jobs a year –
December 2012
Spartacus premiere storms US ratings – January 2013
NZSO a draw card for international blockbusters –
February 2013
Emperor released in US – March 2013
Screen industry hits $3.3 billion high – April 2013
Beyond The Hobbit : Why Hollywood is
staying in New Zealand article published
in The Hollywood Reporter, 19 July 2013.
Social media
In 2012 Film New Zealand took the
plunge and began actively engaging with
social media and building an audience
of filmmakers and the general public
interested in New Zealand’s screen
industry. This presence rose spectacularly
as content built, and in July 2013 our
audience registered 4,386 Facebook page
likes (up from 149 on July 1, 2012).
Websites
External media
releases promoted
Third Hobbit film announced – July 2013
Untold tales of Wellington screen and
digital industry – November 2012
Auckland endorses new film friendly
protocol – April 2013
Peter Webber planning to return to NZ to
shoot The Colour
Compared with the 2011/12 year, our Film
New Zealand website had a slight drop in
overall visits in 2012/13. However, 2012/13
also saw the launch of our two mini-sites,
Home of Middle-Earth and Inspiring
Filmmakers. With the addition of these
contemporary mini-sites, our unique visits
increased to 58,169, compared with a total
of 57,503 in 2011/12.
Media engagement
Film New Zealand appeared in more
than 50 international publications in
the 2012–13 year, and industry comment
and promotional information was sought
by at least 49 media outlets (excluding
direct Hobbit-leveraging activities and
interviews). Countries which were
interested in New Zealand included China,
the USA, Korea, Japan, India, Germany,
France and the UK.
Total Facebook Page Likes
July 2012 – June 2013
BESTSUPPORTING
COUNTRY
CAMPAIGN
On an interesting note, the Film
New Zealand site had a 30% increase in the
number of US-based visitors, which may
be attributable to our increased marketing
and relationship activity in the US.
We are planning to upgrade our main
website in the current financial year, and
the statistics from our mini-sites convince
us that a more modern and mobile-friendly
website is essential.
PETER WEBBER
MINI-SITE
LAUNCHED
ROB TAPERT
MINI-SITE
LAUNCHED
6000
4000
2000
0
A DECADE OF INTERNATIONAL PRODUCTION
BOOGEYMAN
2005
QNZPE
$17.240M
INCENTIVE
$2.155M
HERCULES
(TV MINI SERIES)
2005
TELEVISION
QNZPE
$29.660M
INCENTIVE
$3.708M
2003
2001
2001
2002
2003
2004
JUMPER
2007
QNZPE
$46.640M
INCENTIVE
$5.931M
2003
THE LORD OF THE RINGS:
THE FELLOWSHIP OF THE RING
2007
QNZPE
$22.447M
INCENTIVE
$2.823M
30 DAYS OF NIGHT
THE LAST SAMURAI
THE LORD
OF THE
RINGS:
THE
RETURN OF
THE KING
POWER RANGERS –
OPERATION OVERDRIVE
KING KONG
BRIDGE TO TERABITHIA
2005
QNZPE
$389.203M
INCENTIVE
$48.650M
2005
2007
QNZPE
$27.855M
INCENTIVE
$3.482M
2006
2007
2008
PDV
QNZPE
$7.275M
INCENTIVE
$1.091M
POWER RANGERS
– JUNGLE FURY
2008
TELEVISION
QNZPE
$20.062M
INCENTIVE
$3.009M
2008
POWER RANGERS
– DINO THUNDER
THE LORD OF THE RINGS:
THE TWO TOWERS
2002
2004
TELEVISION
QNZPE
$23.127M
INCENTIVE
$2.891M
WITHOUT A PADDLE
2004
QNZPE
$30.198M
INCENTIVE
$3.775M
THE WATER HORSE
THE CHRONICLES
OF NARNIA – THE
LION, THE WITCH
AND THE WARDROBE
2005
QNZPE
$133.828M
INCENTIVE
$16.729M
POWER RANGERS –
SPACE PATROL DELTA
2005
TELEVISION
QNZPE
$24.617M
INCENTIVE
$3.077M
2007
QNZPE
$75.471M
INCENTIVE
$9.456M
POWER RANGERS –
MYSTIC FORCE
THE CHRONICLES
OF NARNIA –
PRINCE CASPIAN
2008
QNZPE
$71.200M
INCENTIVE
$9.512M
2006
TELEVISION
QNZPE
$21.621M
INCENTIVE
$2.703M
THE DAY THE EARTH
STOOD STILL
2008
PDV
QNZPE
$23.395
INCENTIVE
$3.509M
Incentives: The Large Budget Screen Production
Grant and the Post, Digital and Visual Effects Grant
Since November 2003, the New Zealand Government has encouraged
international screen production studios to locate their productions
in New Zealand by offering large budget productions an incentive
known as the Large Budget Screen Production Grant (LBSP Grant).
ALIENS IN THE ATTIC
[THEY CAME FROM
UPSTAIRS]
2009
QNZPE
$34.711M
INCENTIVE
$5.207M
X-MEN FIRST CLASS
POWER RANGERS –
RACING PERFORMANCE
MACHINES
2009
QNZPE
$30.206M
INCENTIVE
$4.531M
DISTRICT 9
2009
PDV
QNZPE
$3.444M
INCENTIVE
$0.517M
2011
PDV
QNZPE
$14.615M
INCENTIVE
$2.192M
SPARTACUS –
BLOOD AND SAND
2009
TELEVISION BUNDLE
QNZPE
$20.205M
INCENTIVE
$3.031M
X-MEN ORIGINS:
WOLVERINE
This is currently a 15 percent rebate on qualifying New Zealand
production expenditure (QNZPE) (goods and services provided in
New Zealand). In 2007, the Post, Digital and Visual Effects Grant (PDV
Grant) was announced for productions which undertake post, digital
and visual effects work in New Zealand at 15 percent of qualifying
New Zealand production expenditure now between NZ$1 million and
NZ$15 million (above NZ$15 million the LBSP Grant applies).
2010
TELEVISION
QNZPE
$48.593M
INCENTIVE
$7.289M
THE WOT
WOTS
2009
TELEVISION/
PDV
QNZPE
$3.937M
INCENTIVE
$0.591M
2009
THE A TEAM
2010
PDV
QNZPE
$3.652M
INCENTIVE
$0.548M
Note: The Hobbit is the only production
in the list that is still incurring NZ
qualifying expenditure and it is
expected to receive additional grants.
RISE OF THE PLANET
OF THE APES
GULLIVER’S
TRAVELS
THE HOBBIT: AN
UNEXPECTED JOURNEY
2011
PDV
QNZPE
$82.428M
INCENTIVE
$12.364M
2010
PDV
QNZPE
$9.917M
INCENTIVE
$1.488M
2010
2011
2012
QNZPE
$446.776M
INCENTIVE
$67.017M
2012
AVALON HIGH
THE WARRIOR’S WAY
AVATAR
2009
QNZPE
$362.76M
INCENTIVE
$52.921M
UNDERWORLD 3
2009
QNZPE
$30.365M
INCENTIVE
$4.555M
THE LOVELY BONES
LEGEND OF THE
SEEKER 1
2008
TELEVISION
QNZPE
$49.437M
INCENTIVE
$7.416M
2009
QNZPE
$46.098
INCENTIVE
$6.915M
SKYRUNNERS
2010
QNZPE
$42.993M
INCENTIVE
$6.372M
LEGEND OF THE
SEEKER 2
2010
TELEVISION
QNZPE
$53.368M
INCENTIVE
$8.005M
2010
TELEVISION
BUNDLE
QNZPE
$6.518M
INCENTIVE
$0.978M
YOGI BEAR
2010
QNZPE
$41.542M
INCENTIVE
$6.231M
THE ADVENTURES OF TINTIN:
SECRET OF THE UNICORN
2011
QNZPE
$230.960M
INCENTIVE
$34.439M
SPARTACUS THE PREQUEL –
GODS OF ARENA
2011
TELEVISION
QNZPE
$29.474M
INCENTIVE
$4.421M
2009
TELEVISION BUNDLE
QNZPE
$5.304M
INCENTIVE
$0.796M
Source: Ministry of Business, Innovation and Employment, figures to June 2012
INDUSTRY PARTNERSHIPS
We are appreciative that so many generous people work with us and are
willing to help us. We salute them.
In this last year, particular
thanks are due to the following:
Xtreme Freight Forwarding (NZ) Ltd for
their ongoing assistance with freight to
all of Film New Zealand’s overseas events
and hostings.
Park Road Post Production for our joint
venture in Los Angeles.
For the Prime Minister’s
visit to LA:
Filmmakers James Cameron and Jon
Landau for their generous co-hosting of a
private dinner with studio heads, CEOs,
and other senior US screen industry
representatives at the home of Jon Landau.
Sir Peter Jackson (via video link), Joe
Letteri, Rob Tapert and Sir Richard Taylor
for their attendance at the dinner.
All of the above plus Martin Campbell, Cliff
Curtis, Roger Donaldson, Flux Animation/
Brent Chambers and Park Road/Cameron
Harland, Tim Coddington, Digipost, Dr
Allan Freeth, Miranda Harcourt, John
Barnett/South Pacific Pictures, NHNZ,
Oktobor Animation/Chris Waters, Park
Road, Pukeko Pictures/Adam Fratto, Jos
Ruffell, Wingnut/Matt Dravitzki, Weta
Digital/Robin Prybil, Weta Workshop
and the many other individuals and
New Zealand companies who contributed
names to our guest lists and assisted in
numerous ways.
Consul-General Leon Grice and his team
for the consulate function. New Zealand
Ambassador to the United States
Mike Moore, and our colleagues at the
Ministry of Foreign Affairs and Trade,
New Zealand Trade and Enterprise,
Tourism New Zealand and the Office of the
Prime Minister.
New Zealand Winegrowers for the
premium New Zealand wines at the dinner,
uniformed Air New Zealand cabin crew at
the consulate function, and Robbie Burton
from Craig Potton Publishing for copies
of Selling the Dream – The Art of Early
New Zealand Tourism as presentation gifts.
Our colleagues at Sony Pictures
Entertainment, Twentieth Century Fox,
The Walt Disney Company, Warner Bros
Entertainment, Paramount Pictures and
Universal Pictures and numerous other US
production interests.
Department of Conservation
(DOC):
Our colleagues at DOC head office
and conservancies.
Location scouts Dave Comer, David Walker,
Jared Connon, Clayton Tikao, Mike
Holloway, Phil Aitken and Peta Sinclair for
commenting on discussion documents and
attending meetings.
Regional Film Office colleagues.
For ‘Best Supporting Country’:
Jo Healey and her team at Fujitsu
New Zealand Limited, and Jason Paris and
his team at Telecom. Matt Dravitzki, Jared
Connon, Brigitte Yorke, and the team at
Wingnut Films and 3 foot 7 Limited, and
Tom Greally at Weta Digital.
For Pinewood Studios hosting
and the Emperor dinner:
Dr Allan Freeth and his team at
TelstraClear.
For ‘Win a Trip to New Zealand’
giveaway in partnership with Air
New Zealand and Heritage Hotels:
Air New Zealand and Heritage Hotels for
their ongoing support of the New Zealand
screen industry.
For the ‘Frog and Frigate’:
Our sponsors Al Brown Olive Oil,
Whittakers, Trilogy Skincare, the producers
of Good for Nothing, Air New Zealand, Park
Road, Gary Foster, and our co-hosts from
Good Universe Matt Leonetti Junior, Meryl
Emmerton, and their teams.
For the Incentivising
Television report:
Our numerous US interviewees. In
New Zealand, Paul Davis, Dave Gibson/
Gibson Group, John Barnett, Kelly Martin
and Chris Bailey at South Pacific Pictures,
Michael Stedman and John Crawford at
NHNZ, Andrew Smith/Pukeko Pictures,
Penelope Borland/SPADA and International
Line Producers Chloe Smith, Tim
Coddington, Sally Campbell, Janet McIvor,
Janine Dickins.
For work on the Post Digital and
Visual Effects incentives review:
The New Zealand Film
Commission:
Sue Thompson, The Post, Digital and
Visual Effects collective (Digipost, Flux
Animation, Images & Sound, Oktobor
Animation, Park Road, Sauce, Toybox,
Weta Digital).
The NZFC are our collaborators on
numerous projects, sharing resources
and expertise both internationally and
domestically and we thank them.
For the ‘New Zealand:
Inspiring Filmmakers’ series
(print and online):
Sir Peter Jackson, Matt Dravitzki, Peter
Webber, Gary Foster, Yoko Narahashi,
Eugene Nomura, Rob Tapert, Chloe
Smith, Matthew Klitscher, Kirsty Griffin,
New Zealand Trade and Enterprise, Park
Road, Digipost.
And last but by no means least
our colleagues within the
New Zealand Screen Industry:
All the New Zealand companies, line
producers, location scouts, and individuals
who continue to give their time and energy
to helping Film New Zealand with our
enquiries and marketing.
Thank you!
Our NZ Inc Colleagues whom we
worked with on multiple projects
throughout the year:
Ministry of Business, Innovation and
Employment, Ministry of Foreign
Affairs and Trade, New Zealand Trade
and Enterprise, Tourism New Zealand,
both in New Zealand and overseas posts,
Immigration New Zealand, Department of
Conservation, Statistics New Zealand.
SUMMARY OF ACCOUNTS
INDEPENDENT AUDITOR’S REPORT
TO THE BOARD OF TRUSTEES OF FILM NEW ZEALAND TRUST
Report on the Financial Statements
We have audited the financial statements of Film New Zealand Trust on pages 37 to 40, which comprise the
statement of financial position as at 30 June 2013, and the statement of financial performance and statement
of movements in equity for the year then ended, and a summary of significant accounting policies and other
explanatory information.
This report is made solely to the Trustees, as a body, in accordance with Section 10.2 of the Trust Deed. Our
audit has been undertaken so that we might state to the Trustees those matters we are required to state to
them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or
assume responsibility to anyone other than the Trustees, as a body, for our audit work, for this report, or for the
opinions we have formed.
Board of Trustees’ Responsibility for the Financial Statements
The Board of Trustees are responsible for the preparation and fair presentation of financial statements, in
accordance with generally accepted accounting practice in New Zealand, and for such internal control as the Board
of Trustees determine is necessary to enable the preparation of financial statements that are free from material
misstatement, whether due to fraud or error.
Auditor’s Responsibilities
Our responsibility is to express an opinion on these financial statements based on our audit. We conducted
our audit in accordance with International Standards on Auditing and International Standards on Auditing
(New Zealand). Those standards require that we comply with ethical requirements and plan and perform the audit
to obtain reasonable assurance about whether the financial statements are free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the
financial statements. The procedures selected depend on the auditor’s judgement, including the assessment of the
risks of material misstatement of the financial statements, whether due to fraud or error. In making those risk
assessments, the auditor considers internal control relevant to the entity’s preparation and fair presentation of
the financial statements in order to design audit procedures that are appropriate in the circumstances, but not for
the purpose of expressing an opinion on the effectiveness of the entity’s internal control. An audit also includes
evaluating the appropriateness of the accounting policies used and the reasonableness of accounting estimates, as
well as the overall presentation of the financial statements.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for
our audit opinion.
Other than in our capacity as auditor and the provision of taxation advice, we have no relationship with or interests
in Film New Zealand Trust.
Opinion
In our opinion, the financial statements on pages 37 to 40 present fairly, in all material respects, the financial
position of Film New Zealand Trust as at 30 June 2013, and its financial performance for the year ended on that
date in accordance with generally accepted accounting practice in New Zealand.
Chartered Accountants
2 October 2013
Wellington, New Zealand
FILM NEW ZEALAND TRUST FINANCIAL STATEMENTS
FOR THE YEAR ENDED 30 JUNE 2013
Approval by the Board of Trustees
Board of Trustees
Trustee background
Nature of Business
The Trustees are pleased to present the financial
statements for Film New Zealand Trust for the year
ended 30 June 2013.
Julie Elstone
Producer
Allan Freeth
Chief Executive Officer
Julian Grimmond
Producer, Chair
Film New Zealand Trust is New Zealand’s national
film locations office providing information,
introductions and support to filmmakers both
internationally and nationally.
Miranda Harcourt
Actress/Coach
Kevin Jennings
Executive Manager
Film Otago Southland
(resigned 18 April 2013)
Garry Little
Managing Director
John McCay
Lawyer
(appointed 24 June 2013)
Catherine Madigan
Producer
Graeme Mason
Chief Executive Officer
(resigned 25 September 2012)
Joshua Ruffell
Director
Signed on behalf of the Board of Trustees
Julian Grimmond
Chair
2 October 2013
Film New Zealand Trust receives grants and
contributions from Ministry of Business, Innovation
and Employment, New Zealand Trade and Enterprise,
New Zealand Film Commission and a range of other
parties to fund its operations.
In addition to its operating funding, Film
New Zealand Trust was successful in raising income
for specific projects from a number of corporate and
government sources throughout the year. Partnership
and sponsorship revenues were significantly in excess
of figures shown here, as a number of projects also
attracted in-kind support and matching funds not
paid direct to Film New Zealand Trust.
Auditors
Solicitors
Bankers
Deloitte
PO Box 1990
Wellington
Minter Ellison
Rudd Watts
PO Box 2793
Wellington
ASB Bank
Limited
PO Box 5375
Wellington
STATEMENT OF ACCOUNTING POLICIES
The financial statements of Film New Zealand Trust
have been prepared in accordance with the Financial
Reporting Act 1993 and the Trust Deed. The Trust
was formed on 13 June 2011.
1. Basis of Preparation
These financial statements have been prepared on
the historical cost basis. The reporting currency is
New Zealand dollars.
On July 2011, the previous Film New Zealand
Trust was wound up and the assets and liabilities
transferred to this Trust with the same name. The
assets and liabilities were recorded at assessed fair
value as the deemed cost to the Trust. This is the
second year of operation for the new Trust.
Film New Zealand Limited is the sole trustee of the
Film New Zealand Trust. The Chair of Film New
Zealand Limited is the registered holder of 100 shares
in Film New Zealand Limited, which the Chair holds
under a declaration of trust in favour of the New
Zealand screen industry. On this basis consolidated
financial statements have been prepared combining
both parent and group amounts.
Going Concern
These financial statements have been prepared on a
going concern basis.
2. Specific Accounting Policies
2.4 Finance and Operating Leases
The specific accounting policies used in the
preparation of the financial statements are as follows:
Assets acquired under finance leases are capitalised
and depreciated on a straight line basis over the term
of the leases.
2.1 Revenue Recognition
Operating lease rentals are recognised evenly over
the expected period of benefit to the Trust.
Grants identified against specific projects are only
recognised as revenue in the Statement of Financial
Performance when either projects are completed or
certain milestones have been achieved. The portion of
a grant relating to incomplete projects is deferred as
grants in advance.
2.5 Foreign Currency Transactions
Transactions denominated in foreign currencies
are translated into the reporting currency using the
exchange rate in effect at the transaction date.
2.2 Fixed Assets and Depreciation
2.6 Differential Reporting
Fixed Assets are recorded on a historical cost basis
less accumulated depreciation, except for certain
assets that have been recognised at estimated value
when ownership was transferred.
The Trust qualifies for differential reporting
exemptions, as it does not have public accountability
and is not considered a large business. Accordingly,
it has taken advantage of all differential reporting
exemptions allowed under the Framework for
Differential Reporting.
All Fixed Assets are depreciated on a straight-line
basis. Depreciation has been calculated using the
maximum rates permitted by the Income Tax Act
2007. The rates used are:
Office & Computer Equipment 40.0%
Computer Software
40.0%
Furniture and Fixtures
10.5%
2.3 Taxation
The Trust does not qualify for charitable status and is
subject to income tax. Taxation is accounted for on a
tax payable basis.
2.7 Goods and Services Tax
These financial statements have been prepared on a
GST exclusive basis. GST receivable at balance date is
included in current assets. Receivables and payables
are disclosed inclusive of GST.
2.8 Changes in Accounting Policies
There have been no changes in accounting policies
over the past financial year.
STATEMENT OF FINANCIAL PERFORMANCE
OPERATING REVENUE
Ministry of Business, Innovation and Employment
Ministry of Foreign Affairs and Trade
New Zealand Film Commission
Other Government Contracts
Other Income
Rugby World Cup
Sponsorship and Partnerships (A)
Surplus Funds Transferred
Notes
Group & Parent
2013
$
Group & Parent
2012
$
1
1,133,000
40,000
93,004
1,200
60,000
-
1,133,000
5,205
40,000
42,350
120,715
1,327,204
1,341,270
104,527
38,736
390,836
162,322
41,396
184,922
3,208
153,160
260,608
110,094
77,195
341,558
201,765
47,664
192,476
27,057
104,196
133,717
1,339,715
1,235,722
(12,511)
105,548
4,848
4,284
(7,663)
109,832
-
-
(7,663)
109,832
TOTAL OPERATING REVENUE
OPERATING EXPENSES
Attendance at Markets and General Overseas Visits
Business Attraction System Tools
Employee Expenses including ACC and Training
Enquiry Servicing
Film NZ Trust Board
General Operating and Premises
Industry Surveys, Submissions and Regional Film Offices
Marketing and Promotion including Online Expenses
Partnership Projects
2
2
TOTAL OPERATING EXPENSES
OPERATING (LOSS)/SURPLUS BEFORE INTEREST AND TAXATION
Interest Income
OPERATING (LOSS)/SURPLUS BEFORE TAXATION
Taxation
NET (LOSS)/SURPLUS FOR THE YEAR
3
(A) In addition to its operating funding, Film New Zealand Trust was successful in raising income for
specific projects from a number of corporate and government sources throughout the year. Partnership
and sponsorship revenues were significantly in excess of figures shown here, as a number of projects
also attracted in-kind support and matching funds not paid direct to Film New Zealand Trust.
The Statement of Accounting Policies (page 37) and the Notes to the Financial Statements (page 42) form an integral part of these financial statements.
STATEMENT OF MOVEMENTS IN EQUITY
Group & Parent
2013
$
Group & Parent
2012
$
109,832
-
(7,663)
109,832
102,169
109,832
Group & Parent
2013
$
Group & Parent
2012
$
EQUITY
Accumulated Funds
102,169
109,832
TOTAL EQUITY
102,169
109,832
106,863
162,195
9,860
1,635
9,452
176,859
15,939
4,468
1,297
280,553
208,015
18,967
31,457
18,967
31,457
299,520
239,472
CURRENT LIABILITIES
Accrued Expenses
Accounts Payable
Employee Entitlements
Funds Held in Trust - Christchurch Earthquake
PAYE
Revenue in Advance
84,060
52,635
40,428
1,968
11,140
7,120
32,034
53,526
28,641
1,968
13,471
-
TOTAL CURRENT LIABILITIES
197,351
129,640
NET ASSETS
102,169
109,832
OPENING EQUITY
Net (Loss)/Surplus for the year
EQUITY AT END OF YEAR
STATEMENT OF FINANCIAL POSITION
Notes
CURRENT ASSETS
Accounts Receivable
Bank Accounts
GST Receivable
Prepayments
Taxation Refundable
4
3
TOTAL CURRENT ASSETS
NON CURRENT ASSETS
Fixed Assets
TOTAL NON CURRENT ASSETS
TOTAL ASSETS
5
These statements were adopted by the Trust Board and approved for issue at its meeting in October 2013.
The Statement of Accounting Policies (page 37) and the Notes to the Financial Statements (page 42) form an integral part of these financial statements.
I
M
P
2
NOTES TO FINANCIAL STATEMENTS
(
Group & Parent
2013
$
Group & Parent
2012
$
5,400
20,000
60,000
2,892
5,900
20,000
60,000
2,892
(7,663)
3,021
(4,642)
109,832
(120,715)
3,610
(7,273)
1,635
1,635
1,297
1,297
63,829
1,473
1,311
40,250
106,863
5,205
198
4,049
9,452
Office & Computer Equipment
At Cost or Transfer Value
Accumulated Depreciation
Total
50,689
(48,652)
2,037
49,838
(44,297)
5,541
Software
At Cost
Accumulated Amortisation
Total
60,903
(55,794)
5,109
60,903
(45,594)
15,309
Office Furniture and Fixtures
At Cost or Transfer Value
Accumulated Depreciation
Total
18,427
(6,606)
11,821
15,557
(4,950)
10,607
TOTAL FIXED ASSETS
18,967
31,457
Depreciation and Amortisation expense for the year is as follows:
Office & Computer Equipment
Computer Software
Furniture and Fixtures
Total
4,353
10,200
1,660
16,213
6,695
10,203
1,357
18,255
1. SURPLUS FUNDS TRANSFERRED
Film New Zealand Trust agreed with the Ministy of Business, Innovation and Employment
that surplus funds of $120,715, from the previous Film New Zealand Trust, which was wound
up on 30 June 2011, be repaid to the new Trust.
2. OTHER EXPENSES INCLUDED
Auditors’ Fees
Chair’s Honorarium
Rental of Premises
Photocopier Lease
3. TAXATION REFUNDABLE
Operating Surplus per Statement of Financial Performance
Less Surplus Funds Transferred - Non Assessable
Add back 50% Delegations/Hosting/Functions - Non Deductible
Loss before Taxation
Provision for Taxation @ 33%
Less Resident Withholding Tax Receivable
Taxation Refundable
Film New Zealand Trust has accumulated tax losses of $11,915 to carry forward (2012:
$7,273). The utilisation of these losses is subject to certain statutory requirements being met.
4. ACCOUNTS RECEIVABLE
Ministry of Business, Innovation and Employment
Ministry of Foreign Affairs and Trade
Other
Regional Offices
Sponsorship
Total
5. FIXED ASSETS
6. FINANCE AND OPERATING LEASE COMMITMENTS
Non-Cancellable Operating Lease Payments
Operating leases include property rental and photocopier rental
Current
Non Current
Total
7. CAPITAL COMMITMENTS
There is no future capital expenditure commitment as at 30 June 2013 (2012: None).
8. CONTINGENT LIABILITIES
There are no contingent liabilities as at 30 June 2013 (2012: None).
9. RELATED PARTIES
During the year Film New Zealand Trust paid no consulting fees to Mountain Film Unit (2012:
$600). A Director of this company is Julian Grimmond, a Trustee of Film New Zealand Trust.
Miranda Harcourt, a Trustee of Film New Zealand Trust was paid consulting fees of $2,500 in
the 2012 financial year.
10. EVENTS SUBSEQUENT TO BALANCE DATE
Film New Zealand Trust entered into an Agreement to Lease premises at 218 Willis Street,
Wellington after 30 June 2013 and moved into the new premises on 26 July 2013.
12,892
3,374
16,266
62,892
11,266
74,158
B
E
F
C
T
C
2
N
I
V
(
C
P
D
‘
T
A
U
R
T
H
O
2
N
M
INDUSTRY WORTH $2.4 BILLION (REPORT) THE HOLLYWOOD REPORTER MOVIE
MILLIONS KEEP FLOWING SOUTH OTAGO DAILY TIMES (4 APRIL 2012) LEGENDARY
PICTURES’ TY WARREN TO VISIT NEW ZEALAND SCOOP.CO.NZ (2 AUGUST
2012) NZ SHINES AT TORONTO FILM FESTIVAL ASIAN FILM COMMISSIONS NETWORK
(23 AUGUST 2012) NEW ZEALAND’S FILM AND TV INDUSTRY GENERATING
BILLIONS FOR ECONOMY NASDAQ (9 FEBRUARY 2012) AUTODESK, LIGHTSTORM
ENTERTAINMENT AND WETA DIGITAL DRIVE VIRTUAL PRODUCTION
FORWARD VIRTUAL STRATEGY MAGAZINE (7 AUGUST 2012) WETA’S DIY DEVICES
CHANGING FILM INDUSTRY ONE NEWS (19 JULY 2012) NZ’S FILM INDUSTRY BIG
TALKING POINT IN CHINA VISIT NEWSTALK ZB (23 APRIL 2012) $380,000 WORTH OF
COFFEE… AND OTHER FUN FACTS ABOUT ‘THE HOBBIT’ FORBES (14 DECEMBER
2012) HOBBIT TOURISM SCATTERS MORE OF TOLKIEN’S MAGIC ACROSS
NEW ZEALAND THE GUARDIAN (13 OCTOBER 2012) QUEENSTOWN SET TO FEATURE
IN NEW AUSSIE MOVIE SCOOP.CO.NZ (9 FEBRUARY 2012) CHINESE FILM DELEGATION
VISIT NEW ZEALAND TO EXPLORE BUSINESS OPPORTUNITIES SCOOP.CO.NZ
(22 FEBRUARY 2012) WETA WORKSHOP MAKING AN “UNFORGETTABLE” HOBBIT
CREATION FOR AIRPORT TERMINAL SCOOP.CO.NZ (13 SEPTEMBER 2012) WETA’S
PART IN MAKING PROMETHEUS STUFF.CO.NZ (7 JUNE 2012) MAN OF STEEL: WETA
DIGITAL’S JOE LETTERI ON VISUALIZING SUPERMAN MEDIA GEEK NETWORK (7
DECEMBER 2012) HOLLYWOOD MYTHMAKER BUYS A REAL-LIFE PANDORA:
‘AVATAR’ DIRECTOR JAMES CAMERON BUILDS IN NEW ZEALAND NEW YORK
TIMES (25 JULY 2012) AFTER FOUR YEARS OF PRODUCTION, A SPARTACUS
AUCTION ON SUNDAY SCOOP.CO.NZ (4 DECEMBER 2012) SPARTACUS WRAPS
UP FILMING IN NZ NEWSTALK ZB (25 OCTOBER 2012) SPARTACUS’ VALUE TO NZ
REVEALED ONE NEWS (25 OCTOBER 2012) AVATAR’S CAMERON TIPS HOBBIT
TO SPARK FILM TECH REVOLUTION JAMES CAMERON’S NEW ZEALAND
HOME AWAY FROM HOME STUFF.CO.NZ (7 DECEMBER 2012) PETER JACKSON’S
OWN HOLLYWOOD IN NEW ZEALAND THE HOLLYWOOD REPORTER (16 OCTOBER
2012) HOBBIT TOURISM SCATTERS MORE OF TOLKIEN’S MAGIC ACROSS
NEW ZEALAND THE GUARDIAN (13 OCTOBER 2012) NEW ZEALAND MOVES BEYOND
MIDDLE EARTH THE HOLLYWOOD REPORTER (8 MAY 2012) HOW ‘TINTIN’ PRODUCER
Inspiring Filmmakers

YEAR (and a half) BOOK • 2012/13

Transcription

Similar documents

Spring 2015 - Marlborough District Libraries

erspective - De La Salle-College of Saint Benilde

REEL-Recovery-Film-Festival - Lifeskills Of South Florida

Oct 2013 reg layout

Polish Film Festival Flyer 8_5x5_5

here

weatherdek

www.ilapak.com

Tom Malloy Press Kit

ASEF at Tropfest Roughcut