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NZIFF has announced the five finalists for the New Zealand’s Best short film competition, with Perianayaki by DEGANZ member Bala Murali Shingade one of them.

Directed by Bala and edited by fellow member Shailesh Prajapati, Perianayaki follows a recent Sri Lankan immigrant as she begins another day stacking shelves at the local supermarket. With her limited grasp of English, she struggles to understand or be understood by colleagues and customers alike. The short film was written and produced by Shreya Gejji. Perianayaki is a slice of life character study that provokes audiences to pause, take notice, and rethink their assumptions about immigrants, particularly those in the service industry who are often rendered invisible.

Congratulations to Bala, Shailesh and the rest of their team on this achievement. The finalists were picked by this year’s Guest Selector, filmmaker Florian Habicht, from a shortlist curated by NZIFF’s Sandra Reid, Senior Programmer, and Michael McDonnell, Head of Programming. The winners of the three jury prizes and Audience Award will be announced during the film festival in August.

Congratulations to the DEGANZ members who are involved in projects green-lit in the final production funding round of Te Puna Kairangi – Premium Productions for International Audiences Fund. The fund was jointly administered by the three funding agencies: the NZ Film Commission, NZ On Air and Te Māngai Paho.

Creamerie (Drama Series 6 x 22min)

Audiences are in for another round of madness as Creamerie has been funded for a second season. Created by DEGANZ member Roseanne Liang, JJ Fong, Perlina Lau and Ally Xue, the black comedy will follow on from that cliffhanger.

Creamerie Season One is available to watch here.

After the Party (Drama Series 6 x 43min)

DEGANZ member Peter Salmon is set to direct this new drama series. After the Party follows Penny as her world implodes when she accuses her husband of a sex crime, and nobody believes her. Five years later, she must decide what’s more important – the truth, or rebuilding her relationship with her daughter. The series is being written by Dianne Taylor. Peter Salmon will also produce with Helen Bowden.

Escaping Utopia (Documentary Series 3 x 45 min)

Michelle Savill will serve as one of three directors, alongside Justin Pemberton and Natalie Malcon, on this documentary series that focuses on the question: what if your entire life was based on lies?

The Panthers (Drama Series 6 x 44 min)

Member Becs Arahanga, Halaifonua Finau and Tom Hern are the writers of Season 2 of The Panthers. The second season follows the Polynesian Panthers as they begin a new chapter of their lives; now juggling young families and jobs in the capitalist world, working for ‘The Man’. But the revolution waits for no one.

The Panthers Season One is available to watch here.

Congrats again to all of our members! We can’t wait to see your projects come to life.

See the full list of projects here.

I’m 18, with frosted tips, earnest to a fault, about to graduate South Seas Film & TV School. I post out my CV to every production company I can find: nobody bites. (Though, I did send it with a bar of soap wrapped in 16mm film and the opening line, “You don’t know me from a bar of soap…” *double cringe*).

Then one of my tutors puts me in touch with a graduate student who is working on The Lord of the Rings, shout out to Dan Story! Dan takes my CV to the production manager, Brigitte Yorke. While unimpressed with the soap, Brigitte, an alumnus of South Seas, appreciates my grades and hires me as a runner for two weeks. I martyr myself to the job. Changing lightbulbs, making coffee, spilling coffee, wearing my studio-issued ID like an Olympic medal. Two weeks turns into two months, and before I know it, I’m off to Wellywood, leaving behind my hometown in the Tron.

I quickly learn the magical business of show business can be a high stakes, lawless place, and I’m sucked into the pressure, the hierarchy, the people. It’s intense, intoxicating, compulsive… a wild west of bullshit, politics, nepotism, sexism, slave drivers. And I bloody love it. Because when you finally see your name roll up in the credits, it’s suddenly all worth it. Addicted, I jumped from one film to the next… King Kong, The Water Horse, The Lovely Bones, Avatar, The Hobbit… going from runner to driver to cast PA. Watching. Learning. It wasn’t until I became James Cameron’s driver, 8 years after leaving film school, that I decided I had to tell my own stories. I quit James and made my first short film… and then the next one, and the one after that.

One day, producer Katie Millington saw my short Darryn Exists and took a punt hiring me, believing I could learn how to direct commercials. I moved to Auckland, but had nothing to show for myself, and advertising people want you to prove you can tell a story in 30 seconds or less. So I self-funded a couple of ‘spec ads’ to build a showreel for myself. This got me my first job directing a TV commercial. I guess things snowballed from there, but not without the loving mentorship I’ve received from great people and places along the way.

Director Jamie Lawrence on set / Photo: Supplied

Looking back, it really does feel like a collision of passion and opportunity that got me into (and keeps me in) the industry. Thank you South Seas, thank you Dan, thank you Brigitte, thank you James, thank you Katie.

It can be a long road, so when it comes to weathering the storm, the things I tell myself:

Turn away from rejection, towards something you love. I’m quick to go on the offensive, taking shit personally. But actually, the truth is sometimes it’s them, not you. If I lose a job to another director, I reframe it in my mind like an actor that loses the role to somebody more “quirky looking” and “on brief”, while I must be too handsome for the part. Then I lock myself in my room and write my screenplay. This way, I not only ‘bounce back’ from the setback, I also have something to ‘bounce to’.

Phone a friend. Nurture these relationships and connections because they are a wellspring to refuel from when you’re in the eye of the storm. Having a cup of tea/gin with a mate toughens/loosens me up every time.

You can say ‘no’. It’s human rights. Sometimes you can’t afford to turn down an opportunity. And sometimes you can’t afford not to. It’s okay to say ‘no’. For better or worse. It can be bad for business (ask my producer or my husband) but it also makes room for other important stuff. I’ve made a list of deal breakers that match my values – a way to measure a job and decide if it’s something I want to do. Yes… it’s idealistic, probably unsustainable, and sometimes I get a nosebleed on my high horse. But it’s not as bad as doing something I hate.

Good luck out there. Thanks for reading.

 


About Jamie Lawrence

Jamie is a director who has balanced short films with a career directing commercials. His debut short in 2008, Somewhere Only We Know, showed he could tell a story without any dialogue at all. Follow up short comedy Darryn Exists debuted in the NZIFF, and got an Honourable Mention at the Oscar-Qualifying Nashville Film Festival. Jamie has received a NYC Film Academy scholarship, a DEGANZ Director’s Attachment, and a Script to Screen FilmUp mentorship. As a commercials director, he has ranked in Best Ad’s top 10 Kiwi directors, and has received nominations for the Emerging Talent Award and multiple Best Direction Awards at the CAANZ Axis Awards.

mrjamielawrence.com

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with admin@deganz.co.nz if you’re a member and would like to share your story.

I should preface by saying that I never planned to be working in the film and television industry. The honest truth is that when I finished school and decided to go to university, Film and Television papers seemed like a fun choice in amongst English, Sociology, Philosophy, and Art History. As it turned out, the Film and Television papers were the most engaging and fun, and that drove me into doing a Masters in Creative and Performing Arts, specialising in writing and directing for film. After graduation, my first paying gig in the industry was a small assistant editor role through one of my tutors. She connected me with a post-production supervisor who was helping facilitate a short film cutting from his house. It was exciting to be working on something film-related and I got paid a sweet $100.

Meanwhile, another contact through the same tutor, got in touch looking for an assistant editor on a children’s television drama. This would be my first dip into a longer form of drama, as well as a show that had quite a few VFX to contend with. It was at this point that I really began to get hooked into post-production. Even though pickings can sometimes be slim in our industry, I made the conscious decision to only do drama work which is where my passion lay. I was in a position in my life where I had very little financial out-goings and personal commitments so I let myself be open to opportunities, even if they weren’t my original plan. I was in no hurry to make the leap into editing and was hungry to get as much experience as I could.

Editor Jochen FitzHerbert editing Emmy Award-winning series ‘INSiDE’ from his home / Photo: Supplied

It was about five years of assisting work before my break into editing happened. I had assisted on a couple seasons of Power Rangers and one of the regular editors was starting back late due to a scheduling conflict. The returning producer offered me those blocks and I made the quick decision to make the official move to being an editor. Power Rangers was a great first show to cut as I was familiar with it from my assisting time there, but also it had the resources to have a big post team and manageable schedule.

The jump from assistant to editor is one of the trickiest things to manoeuvre. You forge a career as an assistant and work with a bunch of people around town, building a reputation only to have to turn on that and say that you are not that thing any more. Work can be slow in this transitional period but if you dig around enough there are little jobs you can flex your muscles on like low-budget web series or assemble editing.

As the Power Rangers season was finishing, Spartacus started shooting in Auckland. No, I did not get hired for Spartacus, but a lot of great local editors did which meant there was a gap in the industry. It was a perfect storm where the industry was booming and everyone was busy so there was room for people to step up. One of the directors I had just worked with on Power Rangers was going onto one of the said local dramas and he thankfully took me with him. From here, I felt I had my foot in the door.

My advice to anyone starting out now is don’t feel like you have to hurry. Make every job a learning experience and forge lasting connections with people you work with. You never know where or who your next job might come from.

 


About Jochen FitzHerbert

Jochen is an award-winning film and television editor with a long list of credits including Creamerie, Mystic, Power Rangers and The Gulf, for which he won an NZTV Award for Best Editing in a Drama in 2020. He also edited the international Emmy winning series INSiDE, which also won him a Webfest Award for Best Editing.

jochenfitzherbert.com

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with admin@deganz.co.nz if you’re a member and would like to share your story.

We are proud to see our members were among the winners of the 2021 New Zealand Television Awards. The annual event was held on March 1st and celebrated the diversity and success of Aotearoa’s television industry.

Congratulations to our members below!

Screen Auckland Best Director Drama

Max Currie (DEGANZ)
Rūrangi
Autonomouse (Neon & NZME)

Best Factual Series

Fight for the Wild
Peter Young (DEGANZ), Tracey Roe, Dave Hansford
Fisheye Films (RNZ)

NZ On Air Best Drama Series

Creamerie
Bronwynn Bakker, Roseanne Liang (DEGANZ), Perlina Lau, JJ Fong, Ally Xue, Tony Ayres
Kevin & Co + Flat 3 (TVNZ 2)

We would like to further point out that DEGANZ member Jochen Fitzherbet, was one of the editors who worked on Creamerie.

 

The Guild would also like to extend our congratulations to the winners of the other directing and editing categories:

Best Editing: Documentary/Factual

Simon Coldrick
Six Angry Women
Kindred Films (TVNZ 1)

Best Editing Drama

Allanah Bazzard
Black Hands
Warner Bros. International Television Production New Zealand (TVNZ 1)

Best Director: Multi Camera

Wayne Leonard
36th America’s Cup Match 7
America’s Cup Events (Am. Cup website/YouTube)

Best Director: Documentary/Factual

Natalie Malcon & Thomas Robins
Heaven and Hell – The Centrepoint Story
Warner Bros. International Television Production New Zealand (TVNZ 1)

 

The 2021 NZTV Awards presentation was postponed from November 2021 to March 2022 and shifted to an online virtual presentation due to COVID event restrictions.