AnnuAl RepoRt 2005-06 - New Zealand Film Commission

Annual Report 2005-06
G19

Contents
Highlights 2
Chairman’s introduction 4
From the Chief Executive 5
Production financing – feature films 6
Ten investment commitments for new feature films 6
Digital films and Signature films 8
Post-production commitments for digital features 9
Film Fund 9
Production financing – short films 10
Marketing and sales – features 11
Seven international markets 11
Theatrical releases and sales 12
the World’s Fastest Indian 12
River Queen 14
no. 2 15
Sione’s Wedding 16
50 Ways Of Saying Fabulous 17
Pre-sales 18
Other sales and releases 19
International events 20
Marketing and sales – short films 21
Feature film project development 24
Professional development 25
Fifteen initiatives 25
Industry support including market assistance 27
Support for Maori creative talent 28
Administration and organization 29
Film Fund 2 29
Large Budget Screen Production Grant Scheme 30
Structure 31
Financial Statements 32
Report of the Auditor-General 45
Appendix 46
Staff 49

G19
Report of the
New Zealand
Film Commission
for the year ended 30 June, 2006
Rt Hon Helen Clark
Minister for Arts, Culture and Heritage
Parliament Buildings
Wellington
In accordance with Section 44A of the Public Finance Act 1989,
on behalf of the New Zealand Film Commission we present
the Annual Report covering the activities of the NZFC for the
12 months ended 30 June, 2006.
Yours sincerely
David Cullwick
Chairman
October 2006
PO Box 11–546, Wellington
www.nzfilm.co.nz
Funded by the New Zealand Government through the Ministry
for Culture and Heritage and by the Lottery Grants Board.

Highlights
Feature films made with
NZFC investment are seen
by New Zealand audiences
of more than 1.3million
people during their
theatrical releases
The World’s Fastest Indian sets
a record of $7.049 million
– the highest gross theatrical
box office of any New Zealand
film released in this country*
– representing more than
741,000 admissions
River Queen grosses more
than a million dollars in
its New Zealand theatrical
release, and is seen by
more than 105,000 people
The World’s Fastest Indian
sells to more than 120
countries. It is one of
Australia’s top six releases
for its first five weeks,
and its United Kingdom
audience exceeds 100,000
Sione’s Wedding grosses
more than four million
dollars in its New Zealand
theatrical release, and
is seen by more than
430,000 people
The World’s Fastest Indian is
the top-selling dvd in its
first NZ release – ahead of
nine Hollywood movies
No. 2 wins the Audience
Award at the Sundance Film
Festival in the United States
50 Ways Of Saying Fabulous
wins a Jury Special Award
at the Turin Film Festival
in Italy
NZFC commits production
finance for 10 feature films
and development finance
for 45 feature projects
*excluding The Lord Of The Rings
New Zealand Film Commission Annual Report 2006

NZFC invests in its sixth
New Zealand feature in
partnership with the Film
Fund; funds are available for a
seventh Film Fund investment
Academy Award winners at
Weta Workshop create special
effects for new feature financed
by the NZFC
Industry-supported plans
completed for Film Fund 2, to
finance larger-budget features
after the end of the Film Fund
Production Trust
NZFC contributes to
festivals in Brazil and
China focussing on the
New Zealand film industry
Nature’s Way, financed by
the NZFC, is selected for
competition at the Cannes
Film Festival, the third
consecutive year that a
New Zealand short film
has been chosen
NZFC assists government’s
cultural diplomacy international
programme by working with the
Ministry for Culture and Heritage to
organise New Zealand film festivals in
South Korea and Japan
Finance allocated for Te Paepae
Ataata to develop and nurture
tangata whenua cinema as a
unique genre
NZFC partners with
Investment New Zealand to
assist New Zealand film festivals
in Singapore and Bangkok

Chairman’s Introduction
In his introduction to last year’s annual report my predecessor
Barrie Everard wrote that an extraordinary group of films had
been produced through a combination of NZFC and Film Fund
support. At that time, none of the films had been released. It is
my pleasure to introduce a report in which the many successes
of these extraordinary films can be recognized and celebrated.
It’s always exciting when a record is set, and that honour
goes to Roger Donaldson’s The World’s Fastest Indian whose gross
box office of $7.049million is the highest figure ever earned by
a New Zealand film in New Zealand release*. The New Zealand
box office of more than $4million for Sione’s Wedding was also a
tremendous achievement, as was the million dollars taken by
River Queen.
But we don’t judge our movies solely in financial terms.
Together those three features have so far been seen by almost
1.3million New Zealanders, making an enormous contribution
to our shared national identity.
International film festival selection brought important
recognition for New Zealand during the year. No. 2
distinguished itself by winning a major prize at Sundance before
going on to Berlin and accepting invitations to screen in more
than twenty other film festivals.
These festivals are one of the ways by which the NZFC
ensures that New Zealand films start reaching international
audiences. At closing night of the San Sebastian Film Festival in
Spain 4000 people saw The World’s Fastest Indian and at Pusan in
Korea 3000 saw River Queen.
Even more substantial are the international audiences
reached by New Zealand films as the result of sales for theatrical
release. The achievement of selling The World’s Fastest Indian to
more than 120 countries makes the film one of New Zealand’s
all-time best sellers. (For the NZFC it also created the biggest
and most complex task of delivering materials throughout the
world.) Audiences of more than 100,000 saw the film during its
UK theatrical release and there will be even greater numbers
through dvd sales and finally television broadcasts, first on Sky
and then on the BBC, each of whom is contracted to show the
film to British audiences.
Our prime focus, however, must always be to ensure that
the films which we support can reach audiences at home. In
this regard, the first six months of 2006 were exceptionally
successful: New Zealand films contributed over ten per cent of
the total New Zealand theatrical box office. If you add King Kong
and Narnia, the total goes up to 17 per cent.**
Barrie Everard, Helene Wong, James Wallace and Bob
Harvey, whose terms on the Board ended on 30 June, can
look back on a period when every aspect of the NZFC’s work
was constructively re-examined, and when a more disciplined
approach to the business of film was instituted to complement
the cultural imperative emphasis. The current successes show
the effectiveness of this work.
The incoming Board pays tribute to the members of the
previous Board. Under Barrie Everard’s chairmanship the work
of the NZFC became as focused on getting films to audiences
as it had traditionally been on the creative process. We look
forward to building on the success generated over the past
six years in partnership with the staff of the NZFC and the
community of New Zealand filmmakers. We are committed
to ensuring that the NZFC’s role remains a key one in the
continuing growth and success of the New Zealand film
production industry.
David Cullwick
Chairman
October 2006
* excluding The Lord of the Rings
** Motion Picture Distributors Association of New Zealand
New Zealand Film Commission Annual Report 2006

From the Chief Executive
The world does not need more films. But it does need better
films. The successes of NZFC-financed films in the year
under review provide endorsement of our strategies for
script development, professional development and sales and
marketing, and the balance that we have sought to achieve
between cultural and business imperatives.
The NZFC has a cultural mandate but it operates in the
international film business. We recognize the importance of the
NZFC and the domestic filmmaking community being aligned
in seeking this balance. At a forum of senior practitioners
facilitated by the NZFC, it was encouraging to hear a consensus
that films with a consistently strong cultural focus have
generated our best financial results.
During the year New Zealand films have attracted
unprecedented domestic audiences and one of them has
achieved a record number of international sales and releases.
Two of the successful features were financed jointly by the NZFC
and the Film Production Fund Trust. With the Trust’s capital
now substantially depleted, the NZFC has been concerned to
ensure that a mechanism will continue to exist for supporting
larger-scale films. After discussion with the industry a new
approach was developed – Film Fund 2. Details of how it will be
managed are in the Administration section of this report. During
the year the Trust and the NZFC invested in a sixth feature, The
Ferryman. The Trust retains enough finance for investment in
one more feature.
While it is essential to retain opportunities for experienced
filmmakers to make larger-scale features, the NZFC must also
continue its focus on the smaller features which have launched
the careers of so many New Zealanders with exceptional talents.
New films in this category which commenced production during
the year were Black Sheep written and directed by Jonathan King,
Eagle Versus Shark written and directed by Taika Waititi, and Out
Of The Blue directed by Robert Sarkies and written by Graeme
Tetley with the director.
The NZFC digital feature strategy got under way with The Devil
Dared Me To directed by Chris Stapp and written by Matt Heath
and the director. In addition the NZFC had the rare opportunity
to support Vincent Ward in the creation of a full-length
documentary feature based on his award-winning work In Spring
One Plants Alone. The signature film programme continued, with
the aim of starting the first film in the next financial year. NZFC
finance also enabled nine more short films to be commissioned.
The NZFC is a small organization, with eight governmentappointed
Board members and 19 fulltime staff, working
together to support the development and production of New
Zealand films through the judicious application of funds, the
provision of specialist skills, and marketing and sales. We are
proud of our focus on continuing to support the talent behind
the films as well as helping to finance them.
During the year we farewelled a number of Board members
and staff who had each made significant contributions to
our objectives. Their successors are already contributing an
impressive range of experience and commitment.
Lastly and most importantly, I salute the continuing
achievements of the New Zealand filmmakers with whom we work.
It has been a tremendous thrill participating in their successes.
Ruth Harley
Chief Executive
October 2006
Ruth Harley (second from right) speaking at
the opening of the New Zealand Film Festival in
Tokyo. Other guests (from left) are director Toa
Fraser, actor Temuera Morrison, director Vincent
Ward, and (right) producer Tim White.

Production financing – Feature films
Goals
• To maintain the number of New Zealand films including larger budget films;
• to support diverse culturally specific New Zealand films which reflect New Zealand’s
multicultural society
Commitments for ten new feature films
The NZFC committed production investment for a total of ten feature films during the year, compared with seven commitments in
the last financial year. Of the ten projects for which commitments were made, six of the features began production during the year,
compared with two in the previous year. One of these features was a digital production.
The New Zealand Film Production Fund was an investor in one of the features which began production. Four of the features
received investment from other New Zealand sources. Four features attracted investment from offshore, and one of these was an
official co-production.
Of the investment commitments, six were for first features.
Black Sheep
Producer: Philippa Campbell,
Livestock Films Ltd
Director–writer: Jonathan King
This horror comedy, about sheep that
turn nasty after a genetic experiment goes
wrong, began production in Wellington
in March followed by post-production
also in Wellington. Investment was
first committed by the NZFC during
the previous financial year and an extra
amount was invested during the year
under review. Investment also came from
New Zealand On Air and the Daesung
Group of Korea. International sales are
being handled by the NZFC sales agency
NZ Film and Microvision of Korea.
Eagle Vs Shark
Producers: Ainsley Gardiner and Cliff
Curtis, Sad Animals Ltd
Director–writer: Taika Waititi
The NZFC committed majority production
finance for this offbeat comedy, which
began production in Wellington in
October. Post-production began in
December, also in Wellington. Its central
characters are two awkward misfits
seeking acceptance. They discover
that even losers can be lovable if they
give themselves a chance. The film has
minority investment from Unison Films,
a North American investor. International
sales are being handled by NZ Film.
The Ferryman
Producers: Matthew Metcalfe and
Richard Fletcher, TF Productions
Director: Chris Graham
Writer: Nick Ward
The NZFC committed production finance
in the form of a sales advance for this horror
film which tells the story of shocking events
during a boat trip in the South Pacific.
The feature began production in March in
Auckland and on Waiheke Island, followed
by post-production in London. The cast
includes Kerry Fox and Julian Arahanga.
The Film Production Fund is the major
investor in the film, which is being made as
an official New Zealand-United Kingdom
co-production, with other investment
from Prescience Film Partners Ltd and Lip
Sync Productions Ltd, both of the United
Kingdom. International sales are being
handled by NZ Film.
New Zealand Film Commission Annual Report 2006

Be Very Afraid
Producer: John Barnett, South
Pacific Pictures
Director–writer: Jonothan Cullinane
The NZFC offered conditional production
financing comprising equity investment,
subject to confirmation of a sales
agency deal, New Zealand distribution
arrangements, and completion of
financing. The film is to be based on a
true story about a man who refuses to
back down after being bankrupted by
the Inland Revenue Department. New
Zealand On Air is also an investor in
partnership with TV3. International sales
are to be handled by IFM.
The Strength Of Water
Producer: Fiona Copland, Filmwork Ltd
Director: Armagan Ballantyne
Writer: Briar Grace-Smith
The NZFC offered conditional production
financing comprising equity investment
and a sales advance for this feature about
a small boy who can’t accept the death
of his twin sister and will do anything to
keep her spirit alive. The film is being
planned as an official New Zealand-
Germany co-production, with minority
investment from Germany. International
sales will be handled by NZ Film.
Out of the Blue
Producers: Tim White and Steven
O’Meagher, Condor Films Ltd
Director: Robert Sarkies
Writers: Graeme Tetley with Robert
Sarkies
The NZFC committed production
investment including a sales advance
for this true-life drama, which began
production in February in the coastal
Otago settlement of Long Beach,
followed by post-production in
Wellington. It tells the story of the heroic
feats of bravery and survival which
occur during a tragic day in the life of
a small seaside community. The large
cast is headed by Karl Urban and Matt
Sunderland. New Zealand On Air is also
an investor in partnership with TV3.
International sales are being handled by
NZ Film.
The Rain Of Children
Producers: Margaret Slater, Vincent
Ward, and Tainui Stephens, Forward
Films Ltd
Director–writer: Vincent Ward
The NZFC committed production finance
for this documentary feature which began
production during the year. It will look
at the history of the Tuhoe people from
the time of the warrior Te Kooti through
to the prophet Rua Kenana and the
present day. In doing this, it will provide
a historical and social context for Ward’s
award-winning 1980 documentary In
Spring One Plants Alone. This film is an
intimate portrait of an ancient Tuhoe
kuia, her damaged son, and the people
of the remote Waimana Valley. Te Mangai
Paho is also an investor in this film in
partnership with MTS. Sales will be
handled by NZ Film.
The Vintner’s Luck
Producers: Niki Caro and Laurie
Parker, Ascension Films
Director: Niki Caro
Writers: Niki Caro and Joan Scheckel
From the book by Elizabeth Knox
The NZFC offered conditional production
funding in the form of sales advance,
dependent on the balance of finance
being raised. The feature is being
planned as an official New Zealand-
France co-production.
Production financing – feature films

Digital features
Signature films
Production investment finance committed
by the NZFC during the last financial
year has not yet been allocated for the
Signature film initiative, which aims to
put four features into production. More
than eighty proposals were received
by executive producer Trevor Haysom,
with four projects receiving further
development assistance. Partners with the
NZFC are New Zealand On Air and TVNZ.
The Tattooist
Producer: Robin Scholes, Touchdown
Film Ltd
Director: Peter Burger
Writers: Matthew Grainger and
Jonathan King
The NZFC offered conditional production
investment including a sales advance for
this ghostly thriller about a tattooist who
must stop an angry spirit from tattooing
his clients to death. MediaCorp Raintree
Pictures of Singapore is a minority
investor and there are also two private
New Zealand investors. International
sales will be handled by NZ Film.
The Devil Dared Me To
Producers: Matt Heath and Karl
Zohrab
Director: Chris Stapp
Writers: Matt Heath and Chris Stapp
Production investment allocated during
the last financial year was committed
for this first feature in the NZFC’s digital
feature film production scheme which
is being executive produced by Leanne
Saunders, Paul Swadel and Ant Timpson
of the Headstrong group. The satirical
drama, about a man who yearns to
be New Zealand’s greatest stuntman,
began production in Auckland in March.
A further nine digital features are in
advanced development.
Welcome to the
Pleasuredome
Last year’s offer of investment in the form
of a sales advance lapsed without the film
going into production.
The Patchwork Bear
Last year’s offer of investment in the form
of a sales advance lapsed without the film
going into production.
New Zealand Film Commission Annual Report 2006

Post-production finance
Film Fund
The NZFC committed post-production finance to assist with the completion of six
independently-financed digital features which were selected for world premiere
screenings at the Auckland and Wellington Film Festivals:
Event 16
Director–writer: Derek Pearson
Producers: Derek Pearson and
Catherine Fitzgerald, Nine
Eyes Pictures
A science-fiction time-travel adventure
about a young inventor who engineers
access into the past and the future.
The Last Resort
Directors–producers: Errol Wright,
Abi King-Jones, CutCutCut
A documentary about the privatisation
of public land and “colonisation by
corporation.”
Squeegee Bandit
Director: Sandor Lau
Producers: Rhonda Kite, Sandor Lau
A documentary about a car-windscreen
cleaner in South Auckland.
Struggle no More
Director–producer: Costa Botes, Lone
Pine Film and TV Productions Ltd
A documentary about the Windy
City Strugglers, a Wellington band
established in 1968.
The Waimate Conspiracy
Director–writer: Stefen Lewis, Dark
Horse Productions
A mock documentary about a land claim.
The NZFC has now invested in the
production of six feature films in
partnership with the New Zealand Film
Production Fund. Five of these features
have been completed, and four of them
have been released. The fifth, Perfect
Creature, will be released in 2007. The
sixth, The Ferryman, will be completed
during the next financial year.
The NZFC continued to provide
administrative services for the Fund.
The structure of Film Fund 2 which is
taking responsibility for investing in
larger-budget features was approved by
the Board and signed-off by the industry.
(Details page 29).
Waves
Director–writer: Li Tao
A documentary about four students from
China at a New Zealand high school.
Performance
The target of investing in four feature films was exceeded during the year under review. The target for first features was
also exceeded. The targets for larger-budget features and digital features were achieved.
NZFC commitments for feature film production and post-production investment financing totalled $17,387,355,
representing 65.4 per cent of total expenditure.
The previous year’s feature production commitments totalled $10,406,640, which was 53.6 per cent of total expenditure.
Feature Production Films financing – feature films

Production Financing – Short Films
Short Film Production Fund
The NZFC continued its policy of delegating the process
of finding and selecting talent and projects and executive
producing short films, to experienced industry practitioners.
Short Film Tender executive producer contracts with Blueskin
Films (Catherine Fitzgerald), Short Intercept (Andrew Bancroft
and Nik Beachman) and Whenua Films (Ainsley Gardiner and
Cliff Curtis) were extended for a second year.
Production financing was committed to nine short films
commissioned by the three groups of executive producers.
The productions were chosen from a substantial number of
submissions representing intense industry interest in making
short films. Blueskin Films received 82 short film proposals,
Whenua Films received 80, and Short Intercept received 50. The
three groups put a total of nine short films into production and
pre-production during the year under review.
The NZFC began planning to select a new group of three short
film executive producers for the next financial year.
Short film post-production
Two short films financed by the Screen Innovation Production
Fund received post-production financing after being selected to
screen at international qualifying film festivals as designated by
the post-production guidelines.
Screen Innovation Production
Fund
The NZFC continued to support the Screen Innovation
Production Fund administered by Creative New Zealand. It is
designed to support a range of moving image projects including
those using digital technologies, with a focus on innovation,
uniqueness and emerging talent. Forty-four project grants were
made by the Fund in two rounds: July 2005 and February 2006,
compared with 35 in the previous year. The NZFC contributed
$350,000 and Creative New Zealand $250,000 to the fund.
Performance
The production target of nine short films was achieved in the year under review.
In addition, post-production finance was offered to enable two short films to be completed, compared with five in the
previous year.
Total expenditure on short film production including the grant to the Screen Innovation Fund was $1,452,825 representing
5.5 per cent of NZFC expenditure. In the previous year, expenditure was $1,552,563 which was 8 per cent of expenditure.
10 New Zealand Film Commission Annual Report 2006

Marketing, sales and releases – feature films
Goals
• To achieve stronger international sales and marketing of New Zealand films;
• to achieve effective relationships with targeted international organizations
(e.g. festivals, sales agencies, distributors, media and overseas government agencies)
The NZFC’s newly-formed sales agency advisory committee had two meetings during the year. Committee members approved the
agency’s business plan, reviewed procedures for administering sales contracts, and approved plans for participation at international
film markets and festivals. In May, the NZFC organized a seminar on distribution following the popularity of a panel discussion on
the same subject at the Spada conference in November. The seminar in Auckland was attended by more than a hundred filmmakers.
International
marketing
The NZFC achieved its target of stronger
international sales and marketing New
Zealand films by participating at a record
number of seven major international
feature film events, compared with six in the
previous year.
Australian
Movie Convention
The NZFC promoted New Zealand
feature films at this annual industry
event in Queensland in August. With the
Chief Executive Ruth Harley, Kathleen
Drumm of the NZFC sales agency NZ
Film promoted future releases of New
Zealand features to the 600 exhibitors
and distributors from Australia and New
Zealand who were participating.
Toronto International
Film Festival
The NZFC organized substantial New
Zealand participation in September at
the Toronto International Film Festival to
support the world premiere screenings of
three New Zealand feature films in which
it was an investor. This was New Zealand’s
strongest-ever presence at this major
North American event. The World’s Fastest
Indian premiered at a red carpet Special
Presentation; River Queen premiered in
the Contemporary World Cinema section;
and 50 Ways Of Saying Fabulous premiered
in the Visions section. The directors
of all three films were guests of the
festival. New Zealand’s participation at
Toronto was led by NZFC Chief Executive
Ruth Harley and managed by Kathleen
Drumm, with Anne Chamberlain handling
publicity alongside an American publicist.
Both TVNZ and TV3 sent news teams. The
NZFC hosted a reception for international
film industry guests. In March, the
director of the festival Noah Cowan
visited New Zealand to meet filmmakers
and to discuss entries for the next festival.
Pusan Film Festival
and Market
The NZFC organized New Zealand
participation at the 10 th Pusan Film
Festival in Korea in October. Kathleen
Drumm of NZ Film also co-ordinated
visits to the festival, which has become
a major Asian film event, by director
Vincent Ward and actor Temuera
Morrison for the official screening of
River Queen. Other New Zealanders at
the festival and its associated market
included producers Philippa Campbell
and Robin Scholes, Sue Thompson of
Park Road Post, lawyer Michael Stephens
and representatives from Film New
Zealand and Investment New Zealand.
The New Zealand Ambassador to
Korea, David Taylor, hosted a reception
attended by distributors and others from
the Korean film industry. An investment
agreement between the Daesung Group
and Park Road Post was signed in Seoul
after the festival.
American Film Market
The NZFC organized New Zealand’s
sixteenth consecutive annual
participation at the American Film
Market which was held in Los Angeles
in November with more than 7000
participants. NZ Film represented
by Kathleen Drumm and the NZFC
represented by Ruth Harley and Matthew
Horrocks focused on sales and presales
and screened The World’s Fastest
Indian, River Queen and 50 Ways Of Saying
Fabulous. New Zealand producers who
participated with the NZFC at the market
were Liz DeFiore, Paul Carran, Grant
Bradley and Sue Rogers. Judith McCann
from Film New Zealand and Paul Voigt
from Investment New Zealand also
participated, and co-hosted a dinner with
the NZFC for international film industry
representatives.
Sundance Film Festival
The NZFC and NZ Film were represented
by Kathleen Drumm at the Sundance Film
Festival in Utah in January. She worked
to support the world premiere of No. 2 in
competition, where it won the Audience
Prize in the World Cinema section, to
organize publicity for the filmmakers who
were festival guests, and to promote the
film to potential distributors.
Berlin Film Festival
and Market
The NZFC and NZ Film were represented
by Kathleen Drumm at the 51 st Berlin
Film Festival in February, to support
the official screening of No. 2. The
participation was preceded by a visit to
New Zealand by Maryanne Redpath, a
New Zealander on the festival staff, who
met local filmmakers to brief them on the
event.
Cannes Film Festival
and Market
In May, the NZFC organized New
Zealand’s twenty-seventh consecutive
annual participation in the Cannes Film
Festival and market, with a high-profile
office in a central position. The Cannes
participation was managed by Kathleen
Drumm and led by Ruth Harley; other
staff working at Cannes were Catherine
Juniot and Caroline Grose. Film New
Zealand’s Chief Executive was also based
in the NZFC office. A New Zealand short
film Nature’s Way (director Jane Shearer,
producer Leanne Saunders, writers Jane
Shearer and Steve Ayson) was selected
for the festival’s competition, with the
filmmakers in attendance. Nine New
Zealand producers participated in the
market with the NZFC. Nik Beachman,
Grant Bradley, Fiona Copland and
Rhonda Kite each received assistance
from the NZFC Producers’ Market
Assistance programme; the others
participating were Niki Caro, Philippa
Campbell, Tim White, Steve Sachs, and
Leanne Saunders.
Marketing, sales and releases – feature films 11

Theatrical Releases, Festivals and Sales
The World’s Fastest Indian
Director–writer: Roger Donaldson
Producers: Roger Donaldson and Gary Hannam
The most successful New Zealand feature released in
New Zealand during the year was The World’s Fastest Indian, in
which the NZFC and the New Zealand Film Production Fund
were investors with OLC/Rights Entertainment of Japan and
Tanlay AG.
REP Films for Becker Entertainment began the theatrical
release in October with 65 prints, after a charity premiere in
Invercargill with proceeds for the Burt Munro Museum. The
film was New Zealand’s top-grossing feature for six weeks. It
stayed in the top twenty list for more than seven months and
grossed $7.049million, the highest New Zealand box office
figure for any local feature (excluding The Lord Of The Rings).
The previous record of $6.8million was set in 1994 by Once Were
Warriors. Attendances for The World’s Fastest Indian totalled more
than 741,000, compared with 856,000 who saw Whale Rider and
the record of more than a million people who saw Once Were
Warriors.
The New Zealand dvd release began in the last week of June.
An initial sale of 36,000 units made it the top-selling dvd for its
first week, ahead of nine Hollywood features.
The NZFC commissioned a study guide for the film. Air New
Zealand licensed the feature for international flights.
NZ Film has sold The World’s Fastest Indian for release in
126 countries, making it one of the best-selling productions
in which the NZFC has invested. NZ Film organized visits to
ten countries by Roger Donaldson and set up interviews for
European journalists with the leading actor Anthony Hopkins in
Los Angeles and New York.
The world premiere was in September at the Toronto International Film Festival, with standing ovations for the director and Anthony
Hopkins, who were festival guests with producer Gary Hannam. Executive producers Masaharu Inaba, Megumi Fukasawa and
Charles Hannah also attended.
In the same month, the film had its European premiere at the San Sebastian Film Festival where it screened to 4000 people on
closing night with the director as a guest. The film was also selected for the Bangkok, Rio and Sao Paulo Film Festivals.
The Australian theatrical release by
Becker Entertainment began in April
with 192 prints. The World’s Fastest Indian
was one of the top six features at the
Australian box office for its first five
weeks. After thirteen weeks, at the end
of the year under review, the gross box
office was more than $A6.4million, one
of the highest results ever achieved by a
New Zealand feature in Australia. (The
record, excluding The Lord Of The Rings,
is held by Whale Rider which grossed
$A8.1million.) The release continued into
the new financial year.
The United States theatrical release
by Magnolia began in February on 200
screens, and after five months the gross
box office was more than $US4.2million.
The Los Angeles Times wrote that
Hopkins’ portrayal was irresistible. The
New York Times wrote that he delivers
“an endearingly gruff performance from
the encyclopedia of scenery chewing
… a dusting of his dogged optimism is
bound to rub off on you.” The New York
Village Voice wrote: “It’s hard to resist
the film’s pleasantly rambling narrative
and market-defying eccentricity.” The US
dvd release began in June and the film’s
dvd sales made the US top twenty rental
list for five weeks with gross revenues
exceeding the theatrical box office.
The first European theatrical releases
were in February in the four Scandinavian
countries with the title A Most Unusual
Man. In Norway and Finland, where the
film opened on ten screens, the film
was in the box office top twenty for its
opening week.
The Canadian theatrical release
by Odeon began in March with 15
prints. The Vancouver Sun said the film
was “irresistible.”
12 New Zealand Film Commission Annual Report 2006

The British theatrical release by Icon
began in March with 78 prints. After four
months the film had been seen by more
than 100,000 people and the gross box
office was £481,000. Sight and Sound’s
review said “the endearingly ramshackle
film” is about “an irresistibly enthusiastic
but touchingly unworldly New Zealander,
and portrays a world of boundless
friendliness and opportunity. This
geriatric answer to The Right Stuff turns
out to be quite irresistible, largely thanks
to the most cherishable performance that
Anthony Hopkins has given in years.”
Empire magazine said the film was “an
inspiring true story.”
The Spanish theatrical release began
in May with 157 prints; in five weeks
the film attracted 29,000 people.
Theatrical releases in Belgium and the
Netherlands began in the same month.
Dutch audiences kept the film in the top
twenty for two weeks. Also starting in
May, the Israeli release attracted 17,000
admissions in the first month.
Brazil was one of a small number of
countries where the film was released
first on dvd, following official screenings
in the Rio, Sao Paulo and Amazonas Film
Festivals.
Future substantial theatrical releases
include Germany in October and Japan in
February 2007.
The French theatrical release by Rezo also
began in March preceded by a screening at
the St Tropez Film Festival. Released on 160
screens with the title Burt Munro, the film
was seen by 32,000 people over four weeks.
Reviewers in Paris Match and L’Humanite
each wrote that Hopkins’ performance was
exceptional. Le Parisien wrote: “A grand
film for all the family.” The Italian theatrical
release began in April with twenty prints.
The release in the Czech Republic began
in June with four prints. The Mexican
distributor also released the film in June
with 54 prints and the title El Amo del
Viento. The film ran for nine weeks after a
premiere in the International
Contemporary Film Festival in
Mexico City.
www.worldsfastestindian.com
Marketing, sales and releases – feature films
13

River Queen
Director: Vincent Ward
Producers: Don Reynolds [NZ) Chris Auty [UK)
Writers: Vincent Ward and Toa Fraser
The New Zealand theatrical release of River Queen began in January
and grossed more than $1million. The film, financed by the NZFC,
the Film Production Fund, the UK Film Consortium, the UK Film
Council, Endgame Entertainment and Capital Pictures, was in
the top twenty list for the first eight weeks of its release which
continued for more than three months. It was seen by more than
105,000 people.
The New Zealand distributor was 20 th Century Fox who received
a grant from the NZFC to assist with promotion of the film. The
premiere was held in Wanganui and was attended by the Prime
Minister. The producers, director and key cast were also at the
premiere which attracted widespread media coverage. NZ
Film licensed the feature to Air New Zealand for screening on
international flights. The NZFC commissioned a study guide for
educational use.
The Dominion Post reviewer Alexander Bisley wrote that
the film was “frequently brilliant” and that “Ward plumbs the
nation’s soul brilliantly.” He said actors Temuera Morrison and
Cliff Curtis “blaze charisma.” Also in The Dominion Post, Tom
Cardy wrote: “It’s one of the best Kiwi films of the past ten years.”
Auckland reviewers were critical of the film.
The world premiere was at the Toronto International Film
Festival with the director and his producers Don Reynolds and
Chris Auty as festival guests.
The Asian premiere was held in Korea at the Pusan Film Festival
where the film screened to an outdoor audience of 3000 people
and was introduced by the director and actor Temuera Morrison.
They also attended the film’s screenings at the opening nights of
New Zealand film festivals in Seoul and Tokyo. The film was also
selected for a New Zealand Film Festival in Singapore, and the
Bangkok Film Festival.
In competition in June at the Shanghai Film Festival, River
Queen won a Golden Goblet award for its music score from a jury
headed by French director Luc Besson. It screened at the Hawaii
Film Festival’s closing night with the director as a festival guest.
The Hollywood Reporter chose the film as one of five “pick of
picks” from 200 titles in the festival programme.
NZ Film has licensed the film for release in China, Korea and
Thailand. The film’s British sales agent Celsius has completed
sales to a further 20 territories including Sweden, Denmark,
Norway, Finland, Belgium, the Netherlands, Greece, Poland, the
Middle East and Brazil. Sales to the United States and Japan were
under negotiation at the end of the year in review.
The Australian theatrical release began in June after a premiere
at the Sydney Film Festival where the director answered questions
at two sold-out screenings. After the festival the director spent
two days doing interviews with Australian media.
A British release was being planned for the second half of 2006.
www.riverqueenthemovie.com
14 New Zealand Film Commission Annual Report 2006

No. 2
Director–writer: Toa Fraser
Producers: Philippa Campbell, Tim White, Lydia Livingstone
The New Zealand theatrical release of No. 2 (investors the NZFC,
TVNZ and New Zealand On Air) began in February with 38 prints.
The film was in the New Zealand top twenty list for two months
and when the release ended after 22 weeks it had been seen
by more than 78,000 people, with a gross box office of more
than $750,000. “Warm and enjoyable,” wrote the New Zealand
Listener. “Utterly charming,” wrote the New Zealand Herald.
The New Zealand release was preceded by an open-air preview
during Waitangi weekend at the Viaduct Basin in Auckland
where the film and its director received a standing ovation from
an audience of 1200 people who included the Prime Minister.
The New Zealand distributor Buena Vista International received
a grant from the NZFC to assist with promotion of the film. The
soundtrack was released by Festival Records. A study guide was
completed before the release.
The film had its international premiere in January at the
Sundance Film Festival where it won the Audience Prize in the
World Cinema competition. The Sundance screenings were
attended by the director who was invited by the festival to introduce
the film and carried out media interviews with his three producers
and actors Mia Blake and Ruby Dee. A television crew from TVNZ’s
Sunday programme covered the Sundance screenings and
included the coverage in a profile of the director which was telecast
in February.
After the Sundance screening a review in Variety said: “Assured
handling and an appealing cast make this a deserving crowdpleaser.”
Screen International noted a “predictably grand star turn
by 81-year-old US stage and screen star Ruby Dee.”
The film had its European premiere in February in the
Panorama at the Berlin Film Festival. The director attended the
festival to introduce the screenings and carry out media interviews
with Ruby Dee, Tuva Novotny and Rene Naufahu and producer
Lydia Livingstone.
The Australian premiere was in June at the Sydney Film Festival
where its two screenings were sold out. The film was due to begin
its Australian theatrical release later in the year with Buena Vista
International as the distributor.
NZ Film has licensed No. 2 to 12 territories including Germany
where Arsenal plan to release the film in the second half of 2006.
In Scandinavia the distributor will be CCV and in Spain Avalon will
release the film. Other licensed territories include Switzerland
(Xenix), Greece (Prooptiki), Argentina (Telexcel) China (DDream
Entertainment) and the United Kingdom (Working Title).
The film was selected for competition at the Taipei Film Festival.
It screened at the Seattle and Atlanta Film Festivals as well as the
Urban World Film Festival in New York which was attended by the
director and Ruby Dee. It has been selected for screenings at the
2006 London, Chicago and Vancouver Film Festivals.
Marketing, sales and releases – feature films 15

Sione’s Wedding
Director: Chris Graham
Producers: John Barnett and Chloe Smith
Writers: James Griffin and Oscar Kightley
The New Zealand theatrical release of Sione’s Wedding (investors
the NZFC, Village Sky City Cinemas, Joseph P. Moodabe and
New Zealand On Air) began in March with 48 prints after
premieres in Auckland, Wellington and Christchurch with the
stars in attendance.
In a release of more than four months by Sony, Village and
South Pacific Pictures the film grossed more than $4million
and was seen by more than 430,000 New Zealanders. The film’s
popularity kept it in the top twenty list for all this time. It was the
third most successful feature (from any source) released in New
Zealand during the first six months of the 2006 calendar year (with
Da Vinci Code and Ice Age 2 as numbers one and two respectively.)
“A joy to watch,” said the Herald on Sunday. The New
Zealand Herald wrote that the film was “infectiously energetic,
drenched in joy, and bloody funny.” Pavement’s reviewer
wrote: “One big happy hug of a movie.” The NZFC made a grant
to help promote the release. A study guide was released for
educational use.
The film had a simultaneous premiere in Apia followed by a
theatrical release in Western Samoa. The Australian theatrical
release was due to begin in July 2006 with 44 prints.
The film was selected for screening at the 2006 Montreal
Film Festival where Variety reviewed it as a “shrewdly written,
impeccably timed and audaciously played romantic comedy.”
International sales are being handled by Hanway of London
who have changed the name to Samoan Wedding. They report
that the film has been sold for release in thirty countries.
www.sioneswedding.com
16 New Zealand Film Commission Annual Report 2006

50 Ways Of Saying Fabulous
Director–writer: Stewart Main
Producer: Michele Fantl
Arkles Entertainment began the New Zealand theatrical release
of 50 Ways Of Saying Fabulous (in which the NZFC and New Zealand
On Air are investors) in October with seasons in Arrowtown and
Queenstown. The wider New Zealand release was to begin in the
second half of 2006, helped by a grant from the NZFC. The film was
also licensed for screening on Air New Zealand’s international flights.
The film had its world premiere in the New Visions section of
the 2005 Toronto International Film Festival. The director and
leading actor Andrew Patterson were guests of the festival with
producer Michele Fantl and author Graeme Aitken whose book
is the basis of the film. “A surprising, inventive, gay comingof-age
film,” wrote the Festival Daily. The film also screened at
the Montreal Gay and Lesbian Film Festival. It was selected for
the San Francisco, Miami and Chicago Gay and Lesbian Film
Festivals. Its United States theatrical release by Olive Films
began in June at the Quad Cinema in New York.
Variety’s review stated: “Main child thesps, all making their
first screen appearances, are exceptionally good – not the least
seven-year-old Georgina McNeill … Michael Dorman is deft in
what’s by far the most defined adult role.” Washington Metro
Weekly wrote: “A heartfelt meditation on growing up gay. At turns
hysterical and heartbreaking, this is an oddball treat.”
The European premiere was in the Verzaubert Gay Film
Festival in Germany. It won the Jury Special Award at the Turin
Film Festival, and screened at the Pink Apple Film Festival in
Switzerland. It was selected for screening at the 20 th London
Lesbian and Gay Film Festival and was booked by the British
Film Institute to screen throughout the United Kingdom in a
series of gay and lesbian film festivals. It also screened at the
Durban Film Festival and the Singapore Film Festival.
The film has been licensed by NZ Film to ABC/Cinemien for
theatrical release in Holland and Belgium and to Antiprod for
theatrical release in France. It had a one-week theatrical release
in Sydney after premiering at the Sydney Mardi Gras Queerfest
Film Festival and the Bendigo Queer Film Festival.
Graham Aitken’s novel was re-released by Random House
in New Zealand and Australia with a scene from the film on
the cover.
www.fiftywaysofsayingfabulous.com
Marketing, sales and releases – feature films
17

Pre-sales
Kathleen Drumm of NZ Film (left) at the Cannes Film Festival after closing the deal for Miramax to release Eagle vs. Shark
in the United States. With her (from left) are Michael Luisi from Miramax, Ruth Harley of the NZFC, Peter Lawson of
Miramax and Catherine Juniot of the NZFC.
Black Sheep
This new feature is to be released in New Zealand by Icon Film
Distribution in collaboration with Hoyts. The deal was finalized
by NZ Film which is handling international sales. Icon will
also release the film in cinemas in Australia and the United
Kingdom. The NZFC is working with the Icon marketing team to
develop release campaigns.
NZ Film has finalized pre-sales for the film’s theatrical
release in a number of other territories. For Japan, Korea,
China and Taiwan all rights have been licensed to the Daesung
company. All rights for Thailand, Vietnam, Singapore and
Malaysia have been sold to Jiants. The Indonesian distributor
will be Parkit. The distributor in the Middle East will be Prime
Pictures. In Holland and Belgium the distributor will be Dutch
Filmwerk. The future distributors were impressed to learn that
four Academy Award winners were working on prosthetics for
the film which were being created at Weta Workshop.
Eagle vs Shark
NZ Film finalized a pre-sale for the film to be released in the
United States and Canada by Miramax. “Once we saw the
unusually witty footage from the film, there was no question
that we had to act fast,” said Miramax president Daniel Battsek
after the deal was signed during the Cannes Film Festival. “We
think Taika Waititi’s quirky sense of humour will translate well
to US audiences.” A pre-sale for the film to be released in New
Zealand and Australia was signed with Icon Film Distribution.
The Ferryman
A pre-sale for this horror film to be released in New Zealand and
Australia by Magna Pacific was finalized by NZ Film. The film was
also sold to the Middle East. A five-minute preview was screened
in London in June at a UK Film Focus weekend, attended by
international buyers who were told that the film is “a return to
the classic horrors of the late seventies and early eighties.”
Out Of The Blue
A pre-sale for New Zealand and Australian distribution by Dendy
Films was finalized by NZ Film. The New Zealand release was
scheduled to begin in October 2006.
Perfect Creature
Director–writer: Glenn Standring
Producers: Tim Sanders (NZ) Russel Fischer, Haneet
Vaswani, Michael Cowan and Jason Piette (UK)
This new feature (made with investment from the NZFC, the
Film Production Fund, Movision and Roc Media of the United
Kingdom, and the Royal Bank of Scotland) was licensed to 20 th
Century Fox for release in the United States, Canada, Germany
and France. World-wide theatrical releases – including New
Zealand and Australia which NZ Film has licensed to Magna
Pacific – will begin in 2007 after the world premiere release
in the United States. The film’s British sales agents Arclight
finalized the sale to 20 th Century Fox and licensed the film
to more than 50 other countries. At the Cannes Film Festival
the NZFC screened the completed film for its contracted
distributors with an enthusiastic response.
The Rain Of Children
Rialto have made a commitment to release this feature in New
Zealand and Australia.
The Tattooist
The producer and NZ Film finalized a pre-sale for the film
to be released in New Zealand and Australia by Buena Vista
International. NZ Film finalised a sale for release in the Middle
East by Phars Film.
18 New Zealand Film Commission Annual Report 2006

Other sales, releases and festivals
In My Father’s Den (director–writer Brad McGann, producer Trevor
Haysom) was licensed by NZ Film for release by Tartan Films in the
United States where the film was selected by the Palm Springs Film
Festival and won the best feature award at the Stonybrook Film
Festival. It has now won a total of ten international awards – since
last year it has also won three awards at the Dinard Film Festival
in France and best newcomer for actor Emily Barclay in the British
Independent Film Awards. It was selected for screening in France
at the St Tropez Film Festival, in Germany at the Hof Film Festival,
in Greece at the Athens Film Festival, in the Czech Republic at the
Karlovy Vary Film Festival, in South Africa at the Durban Film Festival,
in the Philippines at the Manila Film Festival, and also at the Hawaii
Film Festival.
The feature has been sold by NZ Film for release in a total of
18 countries. Its British theatrical release by Optimum ran for
five months and grossed over £100,000. The Telegraph praised
it as “a startling piece of work” and said McGann was a “name to
remember.” Empire magazine wrote that the film was “hypnotic and
gripping.”
New sales completed during the year were for theatrical release
in France by Magrytte, in Spain by Versus, in Scandinavia by Noble
Entertainment, and in Germany by Capelight. During the year the
film was released on dvd in a number of countries including Brazil,
Portugal and Israel.
The film was a popular seller in the New Zealand homeentertainment
market; the dvd release by Icon sold more than
12,000 units for retail sale and more than 1900 units for rental. The
Australian dvd release sold more than 6000 units.
Perfect Strangers (director–writer Gaylene Preston, producers
Gaylene Preston and Robin Laing) was licensed by NZ Film for dvd
release in Korea. This feature has been sold for release in a total of
more than 40 countries. Its dvd release continues in a number of
countries including the United States (sales of more than 90,000
dvds) and the United Kingdom where more than 12,000 dvds have
been sold. The dvd release in the Netherlands sold more than 7000
units. An initial 700 dvds were sold in Russia.
War Stories (director–producer Gaylene Preston) sold more than
400 units when it was released in New Zealand on dvd by Arkles
Entertainment, who launched the dvd with cinema screenings in
Auckland, Wellington and Christchurch.
The Locals (director–writer Greg Page, producer Steve Sachs)
sold more than 8000 dvds in its continuing United States release
by Anchor Bay. Anchor Bay continued their release of Tongan Ninja
(director Jason Stutter, producer Andrew Calder, writers Jason
Stutter and Jemaine Clement) which sold more than 900 dvds, and
Forgotten Silver (directors-writers Costa Botes and Peter Jackson,
producer Sue Rogers) which sold more than 1400 dvds.
Once Were Warriors (Director Lee Tamahori, producer Robin
Scholes, writer Riwia Brown) was re-licensed by NZ Film for dvd
release in the United Kingdom by Entertainment Film who originally
released the film in 1994. The film was relicensed for Belgium and
Holland where it will be re-released by Cinemien, and for Mexico
where the distributor is Cine & Video. More than 5000 dvds were sold
during the year in Canada, where a total of more than 185,000 dvds
of the film have been sold by Seville Pictures.
The continuing popular success of this feature is shown by
the sale in New Zealand during the year of more than 9000 dvds
by Magna Pacific. Of this total, more than 2000 were a special
collectors’ edition. In Australia, a further 50,000 units were sold in
the continuing dvd release by Dendy, making a total of more than
305,000 dvds of this film which have been bought by Australians. The
dvd releases now benefit from a new digital transfer of the film plus
interviews with some of those who made it.
An Angel At My Table (director Jane Campion, producer Bridget
Ikin, writer Laura Jones) was licensed to Criterion for a dvd release
in the United States. The director contributed a commentary to the
dvd which was marketed as being “director-approved.” The film was
re-licensed for dvd and television re-release in the Netherlands by
ABC/Cinemien who first released it fifteen years earlier. Atlantic’s
continuing dvd release in Scandinavia sold more than 5000 units.
A collector’s dvd edition of Peter Jackson’s Bad Taste, including
Tony Hiles’ documentary Good Taste, Bad Taste, sold more than 3000
units in its Australian release by Universal. In the United Kingdom,
where Universal are also the distributor, more than 3500 dvds
were sold. The continuing United States dvd release by Anchor Bay
sold more than 3700 units. In Scandinavia, dvd sales by Atlantic
totaled more than 5000. The same company sold more than 7000
dvds of Braindead (director Peter Jackson, producer James Booth,
writers Fran Walsh, Peter Jackson, Stephen Sinclair) and more than
4000 dvds of Meet The Feebles (director Peter Jackson, producers
Peter Jackson and James Booth, writers Peter Jackson, Fran Walsh,
Stephen Sinclair, Danny Mulheron.)
The Quiet Earth (director Geoff Murphy, producers Sam Pillsbury
and Don Reynolds, writers Sam Pillsbury, Bill Baer, Bruno Lawrence)
was relicensed by NZ Film for dvd release in the United States and
Canada by Anchor Bay. The British dvd release sold more than 6000
units. The film was relicensed for dvd and TV release in France by
Cinemalta who also acquired the rights to re-release Utu (director
Marketing, sales and releases – feature films
19

International Events
Director Vincent Ward at the opening night reception for the New Zealand
Film Festival in Seoul. With him is Korean actress Ha Ji-won who was the
festival’s publicity ambassador.
Geoff Murphy, producer Don Blakeney, writers Geoff Murphy,
Keith Aberdein). In New Zealand, the continuing Magna Pacific dvd
release of Utu sold more than 5000 units.
Goodbye Pork Pie (director Geoff Murphy, producers Nigel
Hutchinson and Geoff Murphy, writers Geoff Murphy, Ian Mune) was
re-released on dvd in New Zealand with a new digital transfer, new
stereo sound, and a new 40-minute interview with the director. “The
film looks better than the original prints,” said Nigel Hutchinson.
Magna Pacific for Screenline sold 6000 units during the first year
of the release. A similar number of cheaper copies of a parallelimported
inferior-quality dvd of the film, not licensed for New
Zealand release, were sold through Warehouse stores in spite of
opposition from the producers. The film’s British dvd distributors
sold more than 24,000 units at a discounted price.
A double dvd featuring new digital transfers of Roger Donaldson’s
first two New Zealand features Sleeping Dogs and Smash Palace
sold more than 2200 units in Australia and more than 360 in New
Zealand, in a first release by Magna Pacific. The titles were also
released separately with more than 1000 dvds of each single dvd
being sold.
New Zealand features licensed to Air New Zealand for its new
digital inflight system included For Good (director–writer Stuart
McKenzie, producer Neil Pardington), Fracture (director–writer
Larry Parr, producer Charlie McClellan) and Kombi Nation (directorwriter
Grant Lahood, producers Ainsley Gardiner and Larry Parr). Air
New Zealand licensed An Angel at my Table, Scarfies (director Robert
Sarkies, producer Lisa Chatfield, writers Duncan Sarkies and Robert
Sarkies), Once Were Warriors, Sleeping Dogs, Rain (director–writer
Christine Jeffs, producer Philippa Campbell) and The Locals for its
inflight classics library.
A total of 15 New Zealand features and 15 short films were
provided by the NZFC for screening at the inaugural Ouro Preto
Film Festival in Brazil where the focus was on the success of the
New Zealand film industry. Festival guests included the NZFC’s
former marketing director Lindsay Shelton who lectured on
the history of the film industry. Six other New Zealand guests
included director Gaylene Preston whose films were in the
programme and who lectured about her work.
The NZFC assisted the Ministry for Culture and Heritage
and the Ministry of Foreign Affairs and Trade in organizing New
Zealand film festivals which were presented by the New Zealand
Embassies in Seoul and Tokyo as part of the Government’s cultural
diplomacy international programme.
The six-day Seoul event which was
also presented in four other Korean
cities screened 12 feature films and nine
short films. More than 5000 people
attended the screenings and there
were more than 120 items of media
coverage. Sponsorship was provided
by Tourism New Zealand, Zespri,
and Korean Airlines. The festival was
launched with a ceremony to celebrate
Korean investment in Black Sheep, and a
reception at the New Zealand Embassy
with a guest list of 300 including
Korean film industry representatives.
The four-day Tokyo event, the first
New Zealand film festival held in
Japan for twenty years, screened five
feature films, two documentaries and
eight short films. The programme
attracted an attendance of almost 3000 people and was the
highest-profile New Zealand cultural event of the year in Japan.
It included a reception for film industry leaders at the New
Zealand Embassy and a New Zealand Week wine and food
promotion at the City Club of Tokyo. In association with the
festival, New Zealand Trade and Enterprise organised a seminar
on the New Zealand film industry with the NZFC Chief Executive
as a keynote speaker.
During the festival, Vincent Ward and Temuera Morrison
introduced the Japanese premiere of River Queen and Toa Fraser
introduced the premiere of No. 2. Both films attracted full
houses. Roseanne Liang introduced the Japanese premiere of
her film Banana In A Nutshell. Temuera Morrison appeared on a
television show with an audience of four million.
Japanese audiences were impressed that they could meet
the guests after the screenings – which promoted New Zealand
as an open and friendly destination for Japanese travelers.
Sponsors included Air New Zealand and Tourism New Zealand.
The New Zealand Embassy reported from Tokyo that the
film festival proved a useful platform to promote wider “New
Zealand Inc” interests in Japan, with a range of government
and business contacts invited to festival events. The Embassy
reported that the films had been useful in introducing Japanese
audiences to New Zealand’s multi-culturalism and history. A
Japanese critic wrote an essay entitled “New Zealand, the land
of cultural diversity.” One of the feature films, In My Father’s Den,
was also screened in Osaka to an audience of more than 500.
The NZFC assisted Investment New Zealand in organizing
New Zealand film festivals in Bangkok (eight features) and
Singapore (three features). It assisted the organisers of the
third New Zealand Film Festival in China, which screened five
features and six short films in three cities.
20 New Zealand Film Commission Annual Report 2006

Marketing, sales and releases – short films
At the Clermont-Ferrand Short Film Festival: Kate Kennedy of the NZFC
(left) with director Shona McCullagh whose short film break was in the
festival’s official competition.
NZ Film marketed New Zealand short films for the eleventh
consecutive year at the Clermont-Ferrand short film festival in
France. break (director-writer Shona McCullagh, producer Ashley
Stuart-Copeland) was selected for competition at the festival. The
director attended with assistance from the NZFC.
Represented by Kate Kennedy, the NZFC screened a
programme of eight short films in the festival market, and
another seven short films represented by the NZFC were
available for viewing. The films which screened in the New
Zealand programme were: Blue Willow (director-writer-producer
Veialu Aila-Unsworth), Changing of the Guards (director-writer
Joseph Lee, producer Kristian Eek), Egg and Bomb (director
George Port, writer Michael Bennett, producers Norman Elder
and George Port), Fish Out Of Water (director Lala Rolls, writer
Stephanie Rountree, producer Natalie Crane), Karma (directorwriter
Damon Fepulea’i, producer Rachel Jean), The Knock
(director Miles Murphy, writer Nick Ward, producers Simon
Ranganui and Miles Murphy), The Speaker (director Tearepa
Kahi, writer Tearepa Kahi and Savage, producer Quinton Hita)
and Truant (director Michael Duignan, writer Heather Menzies,
producer Rachel Gardner),
The NZFC made 745 submissions offering New Zealand
short films to international film festivals, and as a result it was
responsible for organising 207 screenings of New Zealand short
films at 105 festivals during the year under review.
Festivals and awards
Nature’s Way (director Jane Shearer, producer Leanne Saunders,
writers Jane Shearer and Steve Ayson) was selected for
competition at the Cannes Film Festival, the third consecutive
year that a New Zealand short film has been in the competition.
The film, the first that the director has made, is a supernatural
horror story. The director and producer attended the festival
with assistance from the NZFC.
At the Cannes Film Festival: Jane Shearer (center) whose short film Nature’s
Way was in the official competition, with co-writer Steve Ayson and her
producer Leanne Saunders.
Tama Tu (director-writer Taika Waititi, producers Ainsley
Gardiner and Cliff Curtis) won best short film at the Melbourne
International Film Festival and the Sydney Flickerfest Film
Festival and best short live action film at the Palm Springs Short
Film Festival. The film has now won eight international awards.
It screened at another 12 international film festivals.
The Man Who Couldn’t Dance (director-writer Barry Prescott,
producer Jan Haynes) won best short film and the audience
award for best short film at The Way We Live Film Festival in
Munich. The director was a festival guest.
Truant was selected for the New York Film Festival where it
had its international premiere with the director attending with
assistance from the NZFC.
Two short films were selected for the Berlin Film Festival, The
Speaker in the Panorama and Blue Willow in the Kinderfilmfest.
The NZFC assisted both directors to attend the official
screenings. New Zealand producer Catherine Fitzgerald was a
member of the Kinderfest jury.
break was awarded second prize at the Reel Dance Film
Festival in Sydney. With Blue Willow it screened at the Lisbon
Independent Film Festival.
Closer (director-writer David Rittey, producer Amanda Jenkins)
won best short film award at the 2005 New Zealand Screen
Awards. No Ordinary Sun (director-writer Jonathan Brough,
producer Keith Hill) won best short film at the 2005 Auckland
International Film Festival. With Grass (director Simon Otto,
writers Simon Otto, Brent Chambers, Raymond McGrath,
producer Susan Chambers), Closer screened at children’s film
festivals in the United States and Australia.
21

Six short films financed by the NZFC were selected by the 2005
New Zealand film festivals: Truant, Eating Sausage (director–
writer Zia Mandviawalla, producer Annelise Coulam), No
Ordinary Sun, Kerosene Creek (director–writer Michael Bennett,
producer Catherine Fitzgerald), Tama Tu and Nothing Special
(director Helena Brooks, writers Helena Brooks and Jaquie
Brown, producers Steve Sachs and Helena Brooks). The Moving
Image Centre chose five NZFC shorts for Homegrown festival
screenings throughout the country between July and November:
Tama Tu, Truant, Nothing Special, The Little Things (director–writer
Reina Webster, producer Catherine Fitzgerald) and No Ordinary
Sun. Fish Out Of Water screened in the Homegrown video section.
Boy (director–writer Welby Ings, producer Nic Finlayson) won
best short film and best director at the Drifting Clouds Film
Festival in Wellington. It screened in France at the Paris Gay
and Lesbian Festival, in Denmark at the Copenhagen Gay and
Lesbian Festival, in the United States at Reel Affirmations, Palm
Springs and Rhode Island, in Brazil at Sao Paulo, in Berlin at
Interfilm, in Australia at the Mardi Gras Film Festival in Sydney
and at the Melbourne Queer Festival with Little Gold Cowboy
(director–writer Michael Reihana, producer Tara Landry).
Other festival selections included: Together (director–writer
Felicity Morgan-Rhind, producer Nik Beachman) in competition
at Sao Paulo. No Ordinary Sun at Slamdance in Utah and at
Maryland. Kerosene Creek and The Little Things at the Pan African
Film Festival in Atlanta and the Rhode Island Film Festival.
Kerosene Creek at festivals in Washington, Los Angeles, Canada
and Spain. The Little Things at the Cork Film Festival and the
Exground festival in Germany. Eating Sausage at Mannheim-
Heidelberg and Regensburg, at Vladivostok (with Closer), in
Italy at the Slow Food Festival in Bra, at Rhode Island and
with Fleeting Beauty (director Virginia Pitts, writer Shuchi
Kothari, producers Shuchi Kothari and Sarina Pearson) at the
International Women’s Festival in Turin. Fish Out Of Water at
Newport Beach and Uppsalla. Nothing Special at festivals in
Cape Town, Chicago, Washington, Zagreb and Berlin. Rest
Stop (director Roseanne Liang, producer Karla Rogers) at Palm
Springs, Interfilm Berlin, and Ourense in Spain. Also in Spain,
Kerosene Creek at Bilbao, Water (director Chris Graham, writer
Tony Clyde, producer Karl Zohrab) at San Sebastian and The
Platform (director Robin Walters, writer Brett Ihaka, producer
Jack Sainte Rose) at Valladolid.
The St Tropez Film Festival selected five New Zealand short
films. The Prague Short Film Festival selected six New Zealand
shorts. A New Zealand Film Festival in Beijing selected seven
short titles. The Taipei Golden Horse Film Festival screened
eight New Zealand shorts. Short films were included in the New
Zealand film festivals in Seoul and Tokyo. A New Zealand Short
Film Focus at the Asia Society in New York screened seven titles.
Sales
Sales of short films by the NZFC included six titles to Maori
Television and 26 titles to Rialto Channel NZ.
Visual Learning Media licensed ten short films on a dvd for
use in New Zealand and Australian schools. The dvd includes
teaching resources. Eighty-three copies were sold in two
months.
Ten award-winning New Zealand short films were licensed to
the National Association of Media Educators who launched
them on a dvd titled Short Reels, for use in high schools. Two
hundred copies of the dvd were sold during the initial release.
The two compilations are expected to be available for teachers
of media, English and cultural subjects for at least seven years.
A dvd of New Zealand short films was licensed to the Ministry
of Foreign Affairs and Trade for distribution through the New
Zealand Embassies in Seoul and Tokyo.
Loop Recordings licensed seven New Zealand short films for
its Loop 7 dvd titled We Are Here. In the first release, more than
2000 copies were distributed.
The NZFC created a dvd for free circulation with Pavement 2005.
14,000 copies were distributed. As well as four short films, the
dvd included trailers for feature films.
Channel 4 in the United Kingdom licensed Boy and Closer. Canal
Plus in France licensed Nothing Special. Canal Plus in Poland
licensed The Speaker. SBS TV in Australia licensed Nothing Special,
Tama Tu and Two Cars, One Night (director-writer Taika Waititi,
producers Ainsley Gardiner, Catherine Fitzgerald), ABC TV in
Australia licensed This Film Is A Dog (director-writer-producer
Jonathan Ogilvy). Aboriginal Peoples’ Television in Canada
licensed eight short films including Tama Tu and Two Cars, One
Night. Cinefil licensed Two Cars, One Night for telecasting in
Japan. Redial (director-writer Michele Amas, producer Angela
Littlejohn), Closer and Two Cars, One Night were licensed for
subscription internet in Japan.
Dvds of Hairy Maclary (director Euan Frizzell, producer Shaun
Bell, writer Lynley Dodd) continued to sell well in Australia,
where they are released by the ABC. During the year in review,
more than 10,000 dvds of this compilation were sold. Each dvd
contains ten five-minute animated stories.
Five short films were licensed for theatrical release in Germany,
Austria and Switzerland.
22 New Zealand Film Commission Annual Report 2006

Performance
New Zealand releases
Five feature films with NZFC investment were released in New
Zealand during the year, the same number as the previous year.
The films attracted local audiences of more than 1.3million
people, compared with 185,000 for the previous year’s features.
Expenditure on grants to support four of the theatrical releases
totaled $268,700 compared with $104,720 for three releases in
the previous year.
International film festivals and
special events
New Zealand feature films with NZFC investment were selected
for 90 screenings at 47 international film festivals or special
events, with all arrangements being made by the NZFC,
compared with 87 screenings at 46 film festivals or special
events in the previous year.
The NZFC organized 207 screenings of New Zealand short
films at 105 international film festivals, compared with 190
screenings at 159 festivals in the previous year.
Expenditure on film festival participation by feature films
totaled $132,643 and short film participation cost $60,738. The
previous year’s totals were $106,201 for features and $126,422
for short films.
International marketing
The net cost not allocated to the sales agency of the NZFC’s
participation at eight international events for marketing New
Zealand feature films and short films was $167,790 compared
with $185,237 the previous year.
NZFC sales agency
NZFC sales agency NZ Film generated gross income totalling
$3,339,260 from its sales of feature films and short films
compared with $1,507,733 the previous year. Feature film sales
grossed $3,088,562 compared with $1,234,500 the previous
year; the total does not include substantial revenues collected
on the NZFC’s behalf by an international collections agency
which had not remitted monies to New Zealand by the end
of the year under review. Short film sales grossed $250,698
compared with $273,233 the previous year.
NZ Film retained $207,412 in sales commissions compared
with $326,697 the previous year. The year’s total will be
considerably increased when revenues from the international
collections agency are remitted to New Zealand.
The cost of the feature film sales operation not recouped
from commissions was $155,699 compared with $326,679
the previous year. The cost of the short film sales operation
not recouped from commissions was $13,890, compared with
$15,766 the previous year.
Other sales agents
The NZFC received feature film income of $1,851,367 from films
represented by offshore sales agents, compared with $229,827
the previous year.
Film income accounts
The NZFC administered a total of 534 film income accounts,
compared with 519 the previous year. Of these, 135 were
features (130 in the previous year) and 399 were for short films
(389 the previous year.)
Gross income received in these accounts during the year was
$5,190,627, compared with $1,737,560 the previous year.
As an investor, the NZFC retained $1,054,186 in income,
compared with $1,231,791 the previous year.
Summary
Gross expenditure on marketing and sales excluding
commissions earned was $1,471,347 representing 5.5 per
cent of total NZFC expenditure. The previous year’s figure was
$1,593,136 representing 8.2 per cent.
23

Feature film development
Goal
• To have a high quality pool of film projects suitable for funding against clearly established
criteria
Single project development
In the year under review, the NZFC offered development finance
to a total of 45 feature film projects compared with 42 in the
previous year. There were a total of 56 commitments with twelve
projects receiving more than one amount.
The Staff Committee under the Chief Executive’s delegated
authority made 27 commitments for early development and the
Chief Executive made a further two commitments. Nineteen
proposals were declined. Last year there were 22 commitments
and 16 projects were declined. The total commitment in this
first tier category was $388,559, compared with $347,950 in the
previous year.
The Development Committee offered 15 commitments of
development finance (18 in the previous year), and declined
two proposals. The total of second tier finance offered by the
committee was $329,950, compared with $378,905 in the
previous year.
Four additional development commitments totaling $60,000
were provided through Chief Executive delegations.
The Board made nine offers of advanced development
finance, with a net cost of $737,773. In the previous year the
Board made seven offers at a cost of $625,086.
Projects seeking development financing through this
programme are considered in three stages.
The first tier of development assistance is handled by the
Staff Committee. The committee focuses on concept and
script development to enable treatments or screenplays to be
developed so that their potential can be assessed. The cumulative
maximum that can be offered by this committee is $30,000.
The Development Committee is made up of industry
professionals and a Board member and is chaired by the Chief
Executive with development staff in attendance. The aim of this
second tier of assistance is to develop projects with production
potential that have a significant chance of becoming viable
features for a specific audience. The cumulative maximum that
can be approved by this committee is $100,000; at any one stage
financing would not normally exceed $30,000.
The Board considers advanced development applications
up to $150,000, a cumulative maximum which may only be
exceeded in exceptional circumstances.
Guidelines for the processes followed by the Staff Committee
and the Development Committee are on the NZFC website.
Funds devolved to producers
New Producer Overhead Funds were offered to Crimbil Equities
Ltd (Tim Sanders), Rose Road Ltd (Christine Jeffs), Toa Fraser
(Toa Fraser) and Minute Productions Ltd (Glenn Standring).
Producer Overhead Funds were extended by 12 months for
Southern Light (Tim White) and Gaylene Preston Productions
Ltd (Gaylene Preston).
A new Devolved Development Loan was made to T.H.E. Film
Ltd (Trevor Haysom).
Project assessments
A total of 46 independent assessments from industry
professionals were commissioned during the year, compared
with 45 in the previous year. The assessments are used to advise
staff and the Board on projects seeking finance. Of the total, 21
were assessments of scripts, 12 were assessments of the market
potential of scripts, 12 were budget assessments and one was a
documentary assessment.
A total of $20,500 was spent on independent assessments,
compared with $20,053 the previous year.
Performance
Expenditure on feature film script and project development was
$2,179,582 representing 8.2 per cent of total expenditure. The
previous year’s expenditure was $1,956,348, which represented
10.09 per cent.
The NZFC considered a total of 79 applications seeking
development assistance for feature films, compared with 78 in
the previous year.
A total of 57 amounts of development financing were offered
for a total of 45 feature projects, compared with 54 amounts for
42 projects in the previous year.
Of the projects receiving financing, 30 were new, compared
with 18 projects in the previous year.
24 New Zealand Film Commission Annual Report 2006

Professional Development
Goal
• To develop greater quality and depth of film projects through investing in the upskilling of
producers, writers and directors
The NZFC continued to support a wide range of programmes for professional development to enable New Zealand films and
filmmakers to compete more strongly in the marketplace. There was support for a total of 15 initiatives for producers, writers and
directors, compared with 18 in the previous year.
Accelerator Programme
For a second year, the Melbourne International Film Festival
hosted the Accelerator programme for 12 emerging filmmakers
in July. The festival invited three New Zealand directors to
participate and their films screened as part of the programme.
The NZFC contributed to the cost of the airfares, accommodation
and transfers. The filmmakers were: Michael Bennett (director,
Kerosene Creek), Reina Webster (director The Little Things) and
Helena Brooks (director Nothing Special). The three days of
seminars and talks included sessions with the directors of the
Australian digital breakout hit Wolf Creek as well as with filmmakers
and specialists including Tom Strudwick and Vincent Ward.
CineMart Preparation Seminars and Tom
Strudwick Consultancy
UK script consultant Tom Strudwick ran seminars in Auckland
and Wellington to support projects intending to apply for
CineMart which is held in Rotterdam in January. He held an
intensive two-day producer workshop with a focus on market
preparation in which five producers participated: Rachel Jean
(Stark), Leanne Saunders (Ice Blossom), Karl Zohrab (Retiring
Kenya), Brad Haami and Lisa Convey (Karanga). Tom also led a
treatment workshop in Auckland in conjunction with the Writers
Foundation. It attracted a full house.
SPAAmart
Three producers were selected to present projects to
international investors, distributors, broadcasters and sales
agents at the third annual SPAAmart held in Australia on the Gold
Coast in August. Leanne Saunders and Rain Jung (Ice Blossom),
Ainsley Gardiner and Taika Waititi (Choice), and Matthew
Metcalfe (The Ferryman) attended this film financing event.
SPAA Fringe and digiSPAA
SPAA Fringe is an intensive and interactive three day
programme of informative and practical sessions aimed at
providing cost-effective opportunities for emerging and low
budget independent film and television makers. This year it was
held in Brisbane and New Zealand filmmakers attended for the
first time. The inaugural digiSPAA competition ran alongside the
Fringe. Four selected films including Luella Miller (director Dane
Giraud, producer Robert Lowe) from New Zealand competed for
the first prize of a trip to CineMart. Short filmmakers Catherine
Fitzgerald and Zia Mandviwalla attended with Dane Giraud and
Robert Lowe.
“The SPAA Fringe is an eye-opener and encourages filmmakers to think
globally in their approach to filmmaking.”
—Zia Mandviwalla
First Writers Initiative
The third NZFC First Writers Initiative workshop took place in
Wellington in August. From 75 scripts submitted, the writers
of six scripts were chosen to attend. Matthew Saville, Annalise
Patterson, Michael Beran, Neil Campbell, Pere and Meihana
Durie and Chris Gilman workshopped their scripts with writer
Hone Kouka, producer Robin Laing, director Brad McGann, and
Australian script editors Claire Dobbin and David Rapsey.
Christine Jeffs and Laurie Parker opened the workshop with
a discussion of what it takes to be a successful screenwriter.
Other sessions were taken by producer Tim Sanders and
director Robert Sarkies. The participants discussed the script
development process with the NZFC’s Caroline Grose and
Matthew Horrocks. Jonathan King briefed participants on
his experience with Black Sheep which had taken part in the
inaugural First Writers Initiative. The seven writers were given
three weeks to prepare a strategy for developing the next draft
of their script. Three scripts were then selected for further
funding: Matthew Saville’s Bollywood Boys, Michael Beran’s
Rugby Town Without a Team and Chris Gilman’s Disintegration.
“The First Writers workshop was a rare chance to discuss our work with
fellow writers who are at a similar stage of their career … The best part
was just being a writer for a hundred percent of the time … most of
us were dying to head home armed with our new knowledge to begin
writing our second drafts.”
—Michael Beran
SPARK
William Brandt and Fiona Copland participated in this sevenday
script development workshop with their romantic comedy,
The Film of the Book of the Story of My Life. The event was held in
Queensland at the South Pacific Resort in Noosaville in August
and was a joint initiative with the Australian Film Commission
and AFTRS. Seven Australian project teams also participated.
No Borders
Two New Zealand producers took part in the No Borders market
for the second year. The market, run by the Independent
Feature Project (IFP), takes place annually in New York in
September, and the NZFC attends in partnership with Film
Victoria and the New South Wales Film and Television Office.
The market is a film financing forum that provides independent
producers with an opportunity to seek financing for feature
projects selected by the IFP. The New Zealand project was The
Patchwork Bear and its producers, Angela Littlejohn and Rachel
Gardner, attended with NZFC assistance.
25

Jonathan Brough
Directing coach Judith Weston (centre) talking to director Grant Lahood, watched by some of the other participants at her
workshop held in Auckland.
Maurits Binger Institute
The NZFC supported Florian Habicht (Permissive Paradise) and
Colin Hodson to attend the September–January semester of this
intensive full time programme in Amsterdam.
Maryanne Redpath
Filmmakers were invited to screen and discuss their projects with
Maryanne Redpath, a New Zealander who is on the staff of the
Berlin Film Festival. She viewed NZFC-financed and independent
films in Wellington and Auckland and gave recommendations to
filmmakers about seeking festival selection. At the Wellington
Film School she talked about the Berlin Talent Campus, a festival
initiative that gives 500 filmmakers the opportunity to spend
a week together in Berlin where they attend workshops run by
international industry experts.
Arista
In November Stephen Cleary, head of Arista Development, ran
a six day workshop for script editors in Wellington. Stephen
tailored this workshop for the NZFC to advance the skills of
industry professionals who were familiar with the story-editing
process and committed to working in this area. Ten participants
were chosen from more than thirty applicants. They were: Nancy
Brunning, Kathryn Burnett, Karen Curtis, Catherine Fitzgerald,
Robin Laing, Bevin Linkhorn, Katherine McRae, Timothy
O’Brien, Mick Rose and Jane Warren. Following the workshop
Stephen spent a day in Auckland doing a follow-up workshop for
script editors who had worked with him at an Arista residential
course in Melbourne in 2004. He also held meetings with the
editors to discuss current projects.
CineMart
CineMart 2006 took place in Rotterdam in January. A Song of
Good, written by Gregory King and with Leanne Saunders as
producer, was officially selected. Robin Laing and Paora Maxwell
attended as lab participants and Caroline Grose represented the
NZFC. Rhonda Kite attended as a guest of the market and Rene
Naufahu and Trevor Haysom took part in the Binger/CineMart
lab with their project Bloodlines. Tom Strudwick was a market
guest and available to support the participants.
“I found Cinemart to be useful, stimulating, affirming and practical …
the level of discussion and sharing of experiences was a real bonus …
it has renewed my knowledge that in New Zealand we are developing
film projects that more than hold their own internationally; our ideas,
preoccupations and treatments are at the more original and interesting
end of the market – and are welcomed as such.”
—Robin Laing
Judith Weston
Los Angeles-based directing coach Judith Weston visited
Auckland in March to run a workshop for directors on the art
of directing actors. The event was held in partnership with the
Screen Directors Guild. Judith Weston has been a consultant
on major film and television projects, lectured for film festivals,
professional organisations and film schools and has been on
the faculty at The American Film Institute and the Los Angeles
Film School. Participants were: Armagan Ballantyne, Andrew
Bancroft, Michael Bennett, Jonathan Brough, Jonothan
Cullinane, Rachel Davies, Gregory King, Grant Lahood,
Roseanne Liang, Brita McVeigh, Rene Naufahu and John Reid.
“The Judith Weston workshop was an enormously valuable experience
that provided simple, straightforward techniques to markedly improve
the way that we directors can work with actors to achieve performances
that make our films really shine… In an industry where so many
directors come from a technical or writing rather than an acting
background this kind of course is hugely beneficial.”
—Grant Lahood
Noah Cowan visit
Noah Cowan, co-director of the Toronto International Film
Festival, visited New Zealand as a guest of the NZFC in April.
He met filmmakers in Auckland and Wellington, visited the sets
of Black Sheep and Out of the Blue, viewed a rough-cut screening
of Eagle vs Shark and attended the premiere of Sione’s Wedding.
This was the first time a director of the Toronto Film Festival has
visited New Zealand.
Re-Write Workshop
The Re-Write Workshop was held in Auckland in April. Four
projects took part. The aim was to assist projects in the middle
of their development cycle to make a significant advance
towards their next stage of development. Tutors were Claire
Dobbin (Australia), who led the programme, Nick Drake (UK),
Mark Lazarus (Australia), and Vanessa Alexander. Graeme Tetley
joined the workshop to facilitate a discussion of the relationship
between writers and producers during the development cycle.
Projects participating were: Behind the Tattooed Face (producerwriter
Rena Owen, script editor Brad Haami); Stone Dogs (writer
Rene Naufahu, producer Jackie Dennis); Pompallier (writer Mike
Riddell, producer Tim Sanders); and Projector Room (writer Jesse
Warn, script editor Andre Rowell). The workshop will be held
again next year.
“The rewrite seminar was an excellent spur for our project and we were
surprised by how much effective progress we were able to make in three
days.”
—Mike Riddell
Distribution Seminar
This NZFC seminar in Auckland in early May provided an
opportunity for more than a hundred participants from all
sectors of the industry to consider marketing and distribution
strategies. Presentations included John Barnett and Paul Davis
describing their plan for introducing Sione’s Wedding to the
market, Sue May describing her publicity strategy for River
Queen, and Karen Cafe describing how partners were attracted
to support the release of The World’s Fastest Indian.
26 New Zealand Film Commission Annual Report 2006

Industry support
Goal
• To achieve a stronger partnership relationship with filmmakers and key industry participants
and organizations
The NZFC continued to provide financial and logistical support to key industry organizations. The largest payment was made to the
New Zealand Film Archive, whose substantial collections include original materials for most of the films financed by the NZFC which
has legislative responsibility “to encourage and promote the proper maintenance of films in archives.”
Other organizations supported were Film New Zealand, Script
To Screen (formerly the Writers Foundation), the Writers Guild,
Nga Aho Whakaari, the Screen Directors Guild, the Screen
Production and Development Association, Women in Film and
Television, the New Zealand Film Festival Trust, the Wellington
Fringe Film Festival, the Federation of Film Societies, the Wairoa
Maori Film Festival and the 48 Hour Film Festival.
This support included:
• Assistance for the thirteenth annual conference of the
Screen Production and Development Association held in
Wellington in November, at which staff also participated.
• Assistance for the Nga Aho Whakaari National Hui held in
Rotorua in June.
• Assistance for the New Zealand Screen Awards run by the
Screen Directors Guild in Auckland.
Producers’ market
assistance
The NZFC provided finance to enable 18 producers to attend
international film markets. In addition to the assistance
provided for 11 producers to attend SPAAmart, CineMart and
No Borders as detailed in previous pages the NZFC supported
producers to attend the following markets:
Cannes.
Fiona Copland, Nik Beachman, Grant Bradley and Rhonda Kite
attended this market in May.
Toronto
Don Reynolds (River Queen) attended the Toronto market in
September.
American Film Market
Grant Bradley (Radio Pirates) and Sue Rogers (A Bloody Affair)
attended this market in Los Angeles in November.
Performance
Expenditure on professional development, industry support and producer market assistance totalled $1,393,106 representing 5.2
per cent of NZFC expenditure. The previous year’s figure was $1,350,302 representing 6.9 per cent.
Robert Catto / www.catto.co.nz
A PANEL OF FILMMAKERS at the 2005 conference of SPADA held in Wellington in November with financial support from the NZFC. Left to right: producer
Don Reynolds and directors Merata Mita, Alison Maclean and Niki Caro.
27

Support for Maori key creative talent
Goal
• To ensure that Maori films and filmmakers have a strong platform from which to reflect our
cultural distinctiveness
The NZFC Strategic Plan addresses the principle that developing Maori storytelling and storytellers is fundamental to its purpose.
In recognition of the need to expand and develop the base of Maori filmmaking talent, the NZFC continued to focus on initiatives to
develop Maori talent and projects.
Support for Maori directors
Production and post-production financing for Eagle vs Shark
Director: Taika Waititi
Development funding for Wild Pork and Puha
Director: Taika Waititi
Development funding for Mayhem Marae
Director: Michael Bennett
Development funding for A Song of Good
Director: Gregory King
Production funding for Ebony Society
Director Nancy Brunning
Production funding for Taua
Director Tearepa Kahi
Funding for Michael Bennett and Gregory King to attend the
Judith Weston Acting for Directors Workshop
Funding for Tearepa Kahi to attend the Berlin Film Festival for the
official screening of his short film The Speaker
Support for Maori writers
Production and post-production financing for Eagle vs Shark
Writer: Taika Waititi
Development funding for Behind the Tattooed Face
Writers: Rena Owen, Riwia Brown and Brad Haami
Development funding for Mahana aka Bulibasha
Writer: Hone Kouka
Development funding for Wild Pork and Puha
Writer: Taika Waititi
Development funding for Mayhem Marae
Writer: Michael Bennett
Development funding for A Song of Good
Writer: Gregory King
Development funding for Karanga
Writer: Kath Akuhata-Brown
Production funding for Taua
Writer: Tearepa Kahi
Funding for Rena Owen and Brad Haami to attend the inaugural
NZFC Re-write Workshop with Behind the Tattooed Face.
Funding for Briar Grace-Smith to attend the Sundance Institute
Writers Workshop with The Strength of Water.
Funding for Gregory King to attend CineMart with A Song
of Good.
Funding for Pere Durie and Meihana Durie to attend the 1 st
Writers Initiative workshop with Four Fullas and a Falcon
Funding for Barry Barclay to undertake research at Leeds
University into indigenous cinema
Support for Maori producers
Production and post-production financing for Eagle vs Shark
Producers Ainsley Gardiner and Cliff Curtis
Production financing for The Rain of the Children
Producer: Tainui Stephens
Development funding for Behind the Tattooed Face
Producer: Rena Owen
Development funding for Wild Pork and Puha
Producers: Ainsley Gardiner and Cliff Curtis
Development funding for Karanga
Producers: Lisa Convey and Brad Haami
Development funding for Ming
Producer: Rhonda Kite
Development funding for The Natives of New Zealand
Producer: Rhonda Kite
Development funding for Heavenscent aka Heaven’s To Die For
Producer: Rhonda Kite
Production funding for Taua. Producer Quinton Hita
Post-production funding for Squeegee Bandit
Producer: Rhonda Kite
Second year of Producer Overhead Fund for Cliff Curtis and
Ainsley Gardiner – Whenua Films
Funding for Lisa Convey and Brad Haami to attend the Tom
Strudwick Producer’s Workshop with Karanga
Funding for Ainsley Gardiner to attend SPAAmart with Choice and
to attend Sundance Producers Lab
Funding for Rhonda Kite to attend Cannes
Taika Waititi
28 New Zealand Film Commission Annual Report 2006

Administration and Organisation
Goals
• To maintain and develop the overall funding available to support the work of the Commission
from government and private sources;
• to further develop international co-financing opportunities including co-production treaties;
• to achieve a stronger partnership relationship with government, filmmakers and key industry
participants and organizations;
• to operate a robust accountability framework and measurement reporting system;
• to effectively administer the Large Budget Screen Production Grant Scheme
Board and committee meetings
The NZFC held six regular Board meetings. There were also
thirteen meetings by telephone conference call.
The Development Committee met five times. The Finance
and Audit Committee met twice. The Sales Agency Advisory
Committee also met twice.
Board financing commitments
The Board made a total of ten commitments for feature film
production including one for a digital feature. This was three
more than the previous year, and more than twice the target
set for the year. Four of the features attracted international
partners, twice as many as the year’s target.
Government
The NZFC signed off on its annual Memorandum of Understanding
with the Minister for Arts, Culture and Heritage. Fortnightly
reports were provided throughout the year to the Minister and the
Associate Ministers for Arts, Culture and Heritage.
The NZFC was represented at meetings of the government’s
Screen Co-Ordination Group, which is chaired by the Ministry
for Culture and Heritage and comprises representatives from
government and government-funded screen agencies with the
aim of achieving closer working relationships. Research on the
equity and recoupment policies of the screen funding agencies
was commissioned by the Ministry on behalf of the Group to
inform the provision of advice to Ministers. The Prime Minister
later advised the NZFC that she supports the principle of screen
agencies taking a share of production income where necessary.
She said the taxpayer through government agencies … “is
entitled to a return where a production does well, in order to
reinvest their income.”
For a second year, the NZFC assisted the Ministry for Culture
and Heritage with a programme of film festivals to showcase
New Zealand films in Asia as part of government cultural
diplomacy initiatives. As a result festivals were presented
in Seoul and Tokyo. The Chief Executive spoke at a Tokyo
seminar which was associated with the festival. The NZFC was
represented at meetings of the government’s cultural activities
co-ordination group.
The NZFC partnered with Investment New Zealand to cohost
a dinner during the American Film Market in Los Angeles
which promoted the New Zealand screen production industry to
international film industry decision-makers.
Policy
An NZFC discussion paper on equity for filmmakers received
three responses from the industry. The chair met Spada and
other industry representatives to discuss their views and the
subject was discussed at a forum with senior producers in
Auckland in April. Discussions are to continue and it was agreed
that flexibility of deal-making continues to be essential.
The NZFC completed and approved its first Statement of
Intent, which takes effect in the year beginning July 1, 2006. The
Statement is available on the NZFC website in the “about us”
section. The NZFC updated its Rules to incorporate changes
proposed by Board members.
NZFC guidelines for supporting the domestic theatrical
releases of New Zealand feature films were revised. The new
guidelines are on the website in the sales and marketing section.
The effect of parallel importing on domestic initiatives
became an issue when dvds of Goodbye Pork Pie, licensed for
distribution only in the United Kingdom, were brought into
New Zealand by the Warehouse chain and sold in competition
with a new dvd of the movie which was exclusively licensed for
New Zealand sales. Copyright infringement and piracy issues
also emerged during the year when unlicensed pirate copies of
Sione’s Wedding and River Queen were being sold in Auckland.
A Memorandum of Understanding allocating funds to Te
Paepae Ataata through Nga Aho Whakaari was prepared and
discussed. Nga Aho Whakaari will play a leading role with the
NZFC in defining, setting up and running the Paepae, a featurefilm
development scheme aiming to nurture tangata whenua
cinema as a unique genre.
A paper on the NZFC Maori Responsiveness Strategy was received
by the Board. It is available on the Strategic Plan page of the website.
The drafting of co-production agreements with Spain and
Ireland began during the year with input from the NZFC. A
bilateral agreement for co-operation between the screen
production industries of New Zealand and South Korea was
signed by the Prime Minister in Busan in November; the
parties are the New Zealand Ministry for Culture and Heritage,
the Korean Ministry of Culture and Tourism and the Korean
Broadcasting Commission.
Film Fund 2
A new structure (Film Fund 2) for financing and managing
larger-budget films after the conclusion of the Film Production
Fund Trust was approved by the NZFC Board and by trustees
of the Fund. It was signed off by the industry at the forum
with producers in Auckland. Finance for Film Fund 2 will come
solely from the NZFC. The NZFC appointed Wendy Palmer
as its representative on Film Fund 2; David Gascoigne, chair
of the Film Fund, agreed to chair the new Fund, with Barrie
Everard and Chris Prowse, also trustees of the Film Fund,
as independent members. The new structure and operating
guidelines are on the NZFC website.
Draft guidelines for financing the development of large-scale
feature projects were discussed by the Board. It was agreed
that such films must be 100 per cent owned in New Zealand
and should be driven by New Zealand creatives with successful
international profiles who have returned NZFC investment from
a previous film.
29

Representation
NZFC deputy chair Bill Birnie continued as a member of the
Screen Council and the NZFC maintained a regular dialogue
with the Council. Board members and a senior staff person
attended a forum organized by the Screen Council with
representatives of each political party.
Helene Wong was a Board member of the Writers Foundation.
As a Board member of Film New Zealand, the Chief Executive
continued to attend meetings of Film New Zealand. She
attended part of the annual conference of regional film offices,
whose work is coordinated by Film New Zealand.
The Chief Executive represented the NZFC at the annual
Australian film and television conference and the second
Spaamart, a feature film financing market. She resigned from
her position as a member of the board of the International Film
and TV Alliance (formerly the AFMA) after two years.
The NZFC was represented at the annual general meeting of
the Copyright Council of which it is an associate member.
Senior staff continued to partner actively with industry guilds and
associations to ensure strong partnerships. There was a collaboration
with SPADA to develop sessions for the annual conference and staff
participated fully at the conference which was held in Wellington.
Staff were active with the Directors Guild in their organization of the
2005 Screen Awards held in Auckland in July and with the Writers
Foundation in developing their re-launch as Script To Screen.
Communications
The Board adopted a new communications strategy after
commissioning and discussing two reports on this subject.
Six issues of NZ Film News were distributed, focussing on a
readership of filmmakers. The list of email recipients rose from
700 to more than 1000.
Four issues of the NZFC magazine NZ Film were published. The
May issue was mailed to a total of 2700 readers – one third of them
in New Zealand – with a circulation targeting distributors, exhibitors
and media as well as filmmakers. A thousand extra copies of the May
issue were used at Cannes. The other three issues were prepared
for use at the Toronto Film Festival, the American Film Market and
the Australian Movie Convention. An extra one-off issue titled New
Zealand Film Commission Presents was published for the Spada
conference. The issues were made available on the NZFC website
with the annual report, study guides and a report commissioned by
Investment New Zealand explaining investment and recoupment
structures for feature films.
The redesigned website had more than 263,000 visits during
the year under review. The most popular sections were media
information and information on the latest feature films. Around half
of those accessing the site were from North America and a quarter
from New Zealand.
The Chief Executive accepted an invitation to speak to Telefilm
Canada in Toronto about the successes of the NZFC’s policies for
development, production and marketing. The Head of Marketing
and Sales made a presentation on New Zealand’s new films to the
annual Australian Movie Convention. She spoke to film students
at Victoria University about marketing New Zealand films. The
Chief Executive and Kate Kennedy attended the conference of the
National Association of Media Educators and presented education
kits for new features.
The Office of the Ombudsman upheld a decision of the NZFC to
refuse a request from the New Zealand Herald for copies of external
script assessments relating to twenty feature films in which the
NZFC had a funding role. The Ombudsman stated that releasing
the assessments would be likely to unreasonably prejudice the
commercial position of the owners and investors in the films.
Film Production Fund Trust
In addition to its core functions the NZFC continued to provide
effective administrative services to the New Zealand Film
Production Fund Trust in accordance with its service agreement
with the Trust and also as required by one of the targets for the year.
Large Budget Screen Production
Grant Scheme
The NZFC continued to provide administrative services for the
Government’s Large Budget Screen Production Grant Scheme
which is now in its third year. Details of the Scheme are on the
NZFC website.
An economic evaluation of the scheme was commissioned
by the Ministry of Economic Development focusing on the
impact of the scheme, its net economic gain to New Zealand
and its role in attracting productions as well as reviewing the
criteria and the cost of administration. The report was released
at the end of March. No changes were recommended. The
Economic Development Minister Trevor Mallard announced
that government funding for the scheme would continue “as a
key part of the world-class package that makes New Zealand
attractive to producers of large budget films [for which] there
is intense international competition.” The report is available
through the website of the Ministry of Economic Development.
The NZFC continued to be responsible for chairing meetings
of a panel which assesses applications for grants.
The panel met on seven occasions to approve, decline or
adjust the applications, to ensure that the application process
runs in a transparent, consistent and timely fashion and to work
with and develop the criteria. The panel comprised six people: a
representative of the Ministry of Economic Development, three
industry practitioners (Dave Madigan, Chloe Smith and Tim
Sanders), the NZFC Deputy Chief Executive Mladen Ivancic, and
NZFC Chief Executive Ruth Harley who chairs the meetings.
During the year under review five grants were approved and
paid: to Big Primate Pictures Ltd, the company which produced
King Kong in New Zealand, to Lamp Post Productions Ltd which
filmed The Chronicles of Narnia: The Lion, the Witch and the Wardrobe in
New Zealand, to Viacom Ltd which filmed the feature film Without
A Paddle in New Zealand, to Coote Hayes Production Services
(Hercules) Ltd which filmed the television mini-series Hercules
in New Zealand, and to Ranger Productions Ltd which has been
filming Power Rangers: Space Control Delta in New Zealand.
The biggest amounts were paid to King Kong which received
a grant of $48.65million based on qualifying New Zealand
expenditure of $389,221,032 and The Chronicles of Narnia
which received $16,728,465 based on qualifying New Zealand
expenditure of $133,827,724. The Hercules mini-series and
Without A Paddle each received $3.7million. Power Rangers
received $3million. The targets of processing and paying all
applications within three months were achieved for four of the
five titles.
Performance
Expenditure on administration costs not otherwise allocated to
specific operations was $2,207,596, representing 8.3 per cent of
total expenditure, compared with $1,989,358 representing 10.44
per cent of total expenditure in the previous year. The totals
include the cost of administration of the Large Budget Screen
Production Grant Scheme and the Film Production Fund Trust.
30 New Zealand Film Commission Annual Report 2006

The NZFC Board, after the last meeting for the financial year. With them is the Associate Minister for Arts, Culture and Heritage, the Hon. Judith Tizard.
Back row from left: James Wallace, Tainui Stephens, William Somerville, Bob Harvey.
Front row from left: outgoing chair Barrie Everard, Helene Wong, the Minister, Bill Birnie.
Structure
Board
David Cullwick was appointed as NZFC chairman from the start
of the 2006–07 financial year. He is an independent business
advisor with a particular interest in corporate and business
strategy, marketing and innovation, and governance, and was
the inaugural Professor of Marketing at Victoria University.
Four new Board members were appointed from the start of
the 2006–07 financial year. They are:
Vanessa Alexander, an award-winning producer, director and
writer who has worked in film, television and theatre and who
is chair of Script to Screen (formerly the New Zealand Writers
Foundation);
Andrew Cornwell, general manager of Sony Pictures (NZ)
Ltd, a former chair of the Film and Video Labelling Body and a
former president of the Motion Picture Distributors Association
and the Video Association of New Zealand;
Wendy Palmer, a trustee of the Film Production Fund Trust who
has 15 years experience in international film investment and sales
and has represented more than 200 films including The Piano;
Shane Simpson, a lawyer specializing in intellectual property,
arts, entertainment, media, museums and new technologies
law who was chair of the New South Wales Film and Television
Office from 1999 till 2005.
The NZFC has four key decision-making bodies.
a) The full Board
The NZFC is a statutory body and the Board meets on
average six times a year to decide on policy matters and
major production investment for all projects except short
films. Board members are appointed by the Minister for Arts,
Culture and Heritage.
Members for the year to 30 June 2006 were:
Barrie Everard, chair, Bill Birnie, deputy chair, Lisa Chatfield
(till October), Bob Harvey, William Somerville, Tainui
Stephens, James Wallace, Helene Wong.
b) The Development Committee
This committee is appointed by the Board to decide on
applications for finance for feature film script development
and follows rules formulated by the Board. Chaired by the Chief
Executive, its members at each meeting include one Board
member and two representatives of the independent production
industry. The Board was represented by Helene Wong or Tainui
Stephens. Industry representatives who participated in meetings
were Gillian Ashurst, Tim Sanders, Robin Laing, Nick Ward, Brad
McGann, Tim White, Graeme Tetley and Fiona Copland.
c) The Finance and Audit Committee
This committee of Board members takes responsibility for
financial issues to maximize the time available for policy and
production financing decisions at full Board meetings. The
committee works in accordance with rules formulated by the
NZFC which were revised during the year under review. Its
members for the year to 30 June 2006 were:
Bill Birnie, chair; James Wallace, deputy chair; Barrie Everard,
William Somerville.
d) The Sales Agency Advisory Committee was established during
the year, thereby meeting another of the year’s targets.
This committee, appointed by the Board and working to
rules formulated by the Board, is responsible for providing
advice on sales strategies and targets, reviewing the sales
agency’s annual business plan, budget and performance and
approving the annual marketing plan on a market by market
basis. Its members at 30 June 2006 were:
Paul Davis, Wendy Palmer, Barrie Everard, Ruth Harley,
Kathleen Drumm.
Staff
Sarah Cull, a film lawyer with experience at South Pacific
Pictures and Daybreak Pacific, was appointed NZFC Head of
Business Affairs, succeeding Lloyd Meiklejohn who held the
position for two years.
James Thompson, a lawyer with experience in commercial
practice and a graduate of the New Zealand Film and Television
School, succeeded Catherine Juniot as Business Affairs
Executive.
With the departures in May of Matthew Horrocks after
three years as Development Executive and Rachael Mansfield
after two years as Industry Support Manager, job descriptions
were revised and responsibilities were shared between two
new Development Executives: Tim O’Brien who has a Master
of Fine Arts in Screenwriting from the University of California
and has worked as a film, television and theatre critic, a script
consultant and broadcaster; and Hone Kouka, one of New
Zealand’s most successful playwrights whose experience spans
film and radio as well as theatre.
Staff attended a half-day Treaty of Waitangi workshop which
was run by Tainui Stephens.
31

Statement of responsibility
For the year ended 30 June 2006
The management of the New Zealand Film Commission is responsible for the preparation of these financial statements and the
judgements used herein.
The management of the New Zealand Film Commission is also responsible for establishing and maintaining a system of internal
control designed to provide reasonable assurance as to the integrity and reliability of financial reporting. In the opinion of the
Board and management, these financial statements fairly reflect the achievements in respect of the performance targets and other
measures adopted, the financial position and operations of the New Zealand Film Commission for the year ended 30 June 2006.
David Cullwick
Chairman
Ruth Harley
Chief Executive
27 October, 2006
32 New Zealand Film Commission Annual Report 2006

New Zealand Film Commission
Statement of Financial Position
As at 30 June 2006
Equity
Accumulated funds
Note
2006 2006 2005
Actual
$
Budget
$
Actual
$
866,770 1,570,700 4,963,097
Total Equity 1 866,770 1,570,700 4,963,097
Represented by:
Current Assets
Bank
Short Term Deposits
Accounts Receivable 2
2,641,156
14,800,000
1,227,954
1,200,000
12,335,000
750,000
2,186,489
11,950,000
1,198,886
Total 18,669,110 14,285,000 15,335,375
Non Current Assets
Fixed Assets 3 189,344 300,000 223,956
Total Assets 18,858,454 14,585,000 15,559,331
Less Liabilities:
Current Liabilities
Accounts Payable
Film Income Account
Project Commitments
4
5
1,213,606
2,308,895
14,469,183
780,000
1,200,000
11,034,300
979,697
1,385,941
8,230,596
Total Liabilities 17,991,684 13,014,300 10,596,234
Net Assets 866,770 1,570,700 4,963,097
The accompanying Statement of Accounting Policies and the notes on pages 36 to 41 form part of these financial statements.
David Cullwick
Chairman
Ruth Harley
Chief Executive
27 October, 2006
Financial Statements
33

New Zealand Film Commission
Statement of Financial Performance
For the year ended 30 June 2006
Income
Government Grant
Lottery Board Grant
Income from Films
Distribution Fee
Interest
Writebacks
Other Income
Note
5
5
2006 2006 2005
Actual
$
10,872,889
8,100,000
1,054,186
207,412
1,222,599
898,482
149,500
Budget
$
10,873,000
8,100,000
2,050,000
1,030,000
840,000
0
150,000
Actual
$
10,872,889
8,040,000
1,231,791
326,697
842,154
425,000
143,550
22,505,068 23,043,000 21,882,081
Expenditure
Feature Film Development
Production
Professional Development & Industry Support
Marketing & Sales
Corporate
6
7
8
9
10
2,511,247
19,018,099
1,393,106
1,471,347
2,207,596
2,848,650
15,610,000
942,000
1,578,450
1,993,200
2,334,913
12,126,594
1,350,302
1,593,136
1,989,358
26,601,395 22,972,300 19,394,303
Net Surplus / (Deficit) (4,096,327) 70,700 2,487,778
Statement of Movements in Equity
For the year ended 30 June 2006
2006 2006 2005
Actual
$
Budget
$
Equity at 1 July 4,963,097 1,500,000 2,475,319
Net Surplus / (Deficit) (4,096,327) 70,700 2,487,778
Total recognised revenues and expenses for the year (4,096,327) 70,700 2,487,778
Equity at 30 June 866,770 1,570,700 4,963,097
The accompanying Statement of Accounting Policies and the notes on pages 36 to 41 form part of these financial statements.
Actual
$
34 New Zealand Film Commission Annual Report 2006

Statement of Cash Flows
For the year ended 30 June 2006
Note
2006 2006 2005
Actual
$
Budget
$
Actual
$
Cash Flows from Operating Activities
Cash Was Provided From:
Grants and Other Income
Interest Received
Net GST
21,073,982
1,292,459
144,346
22,000,000
840,000
20,000
21,243,482
904,838
131,048
Cash Was Applied To:
Production Funding, Marketing, Industry
Support, Suppliers and Employees
Net GST
(19,037,236) (21,750,000)
0
(17,311,041)
0
Net cash inflow from operating activities 16 3,473,551 1,110,000 4,968,327
Cash Flows from Investing Activities
Cash Was Provided From:
Decrease in Short Term Deposits
Sale of Fixed Assets
0
0
0
0
Cash Was Applied To:
Increase in Short Term Deposits
Purchase of Fixed Assets
(2,850,000)
(84,747)
(1,740,000)
(170,000)
(6,500,000)
(135,530)
Net cash outflow from investing activities (2,934,747) (1,910,000) (6,635,530)
Cash Flows from Financing Activities
Cash Was Provided From:
Short Term Loans Received
0
0
239,969
Cash Was Applied To:
Short Term Loans Issued
(84,137)
Net cash outflow from financing activities (84,137) 0 239,969
0
0
Net Increase (Decrease) in Cash at Bank
454,667
(800,000)
(1,427,234)
Opening Cash at Bank
2,186,489 2,000,000 3,613,723
Closing Cash at Bank 2,641,156 1,200,000 2,186,489
The accompanying Statement of Accounting Policies and the notes on pages 36 to 41 form part of these financial statements.
Financial Statements
35

New Zealand Film Commission
Statement of Accounting Policies
For the year ended 30 June 2006
Reporting Entity
Pursuant to the New Zealand Film Commission Act 1978, the New Zealand Film Commission (the Commission) was established on
13 November 1978 as a Crown Entity in terms of the Public Finance Act 1989.
In the preparation of its financial statements the Commission follows the recommendations set out in the Statements for
Standard Accounting Practice and Financial Reporting Standards issued by the Institute of Chartered Accountants of New Zealand.
The financial statements have been prepared in accordance with the Public Finance Act 1989, as amended.
Measurement Base
The measurement base adopted is that of historical cost.
Accounting Policies
The following accounting policies, which materially affect the measurement of income and expenditure and the financial position,
have been applied:
a) Accounts Receivable
Accounts receivable are shown at their estimated net realisable value.
b) Fixed Assets and Depreciation
Fixed Assets are stated at cost less depreciation. Depreciation is calculated on a straight-line basis as below:
Computer Equipment
Office Equipment
Furniture and Fittings
Leasehold Alterations
3 years
5 years
7 years
10 years
c) Investments and Advances
Funding for film development and production, while in the nature of an investment, is treated as expenditure because of its
high-risk nature. This expenditure is recognised at the time the commitment is approved and includes funds committed but not
paid out at year-end. The exceptions to this policy are:
(i) Investments for which a certain level of income is contracted and reasonably assured. Such investments are treated as assets
and valued at the minimum level of expected income.
(ii) Short term advances made on a fully recourse basis where the payment is secured by some means so as to give a reasonable
expectation of repayment.
Short-term deposit classification includes transferable certificates of deposit and short term deposits. Investments are valued at the
lower of cost or market. Interest has been accrued at year-end.
d) Project Commitments
This amount represents financial commitments and advances for film development and production committed by the
Commission, but not paid out at year-end.
e) Writebacks
Writebacks represent commitments for investments and advances treated as expenditure in previous years and subsequently
revised or cancelled and therefore written back to the current year’s income.
f) Prepayments
Expenses for future film markets and festivals incurred in the current year are shown as prepayments.
g) Returns from Film Investments
Returns from film investments are treated as income as and when received.
36 New Zealand Film Commission Annual Report 2006

h) Foreign Currencies
Any bank deposits held in foreign currencies at balance date are valued at the quoted mid-rate at the close of business on
30 June. The unrealised gain or loss resulting from the valuation is adjusted against income and expenditure.
i) Employee Entitlements
Personnel expenses include salaries, provision for leave due, bonuses due and other employment related expenditure.
Annual leave due is calculated on entitlements outstanding as at 30 June 2006 and is calculated at current rates of pay.
j) Financial Instruments
The Commission is party to financial instruments as part of its everyday operations and these have been recognised in the
statement of financial position. These instruments include cash on hand, bank balances, short term deposits, accounts
receivable, accounts payable and project commitments.
Revenue and expenses in relation to all financial instruments are recognised in the Statement of Financial Performance.
k) Operating Leases
Operating lease payments, where the lessor effectively retains substantially all the risks and benefits of ownership of the leased
items, are charged as expenses in the periods in which they are incurred.
l) Statement of cash flows
Cash means cash balances on hand, held in bank accounts, demand deposits and other highly liquid investments in which the
Commission invests as part of its day to day cash management.
Operating activities includes all activities other than investing and financing activities. The cash inflows include all receipts from
the sale of goods and services and other sources of revenue that support the Commission’s operating activities. Cash outflows
include payments made to employees, suppliers and for taxes.
Investing activities are those activities relating to the acquisition and disposal of current and non-current securities and any
other non-current assets.
Financing activities are those activities relating to changes in equity and debt capital structure of the Commission and those
activities relating to the cost of servicing the Commission’s equity capital.
m) Goods and Services Tax (GST)
The financial statements are prepared on a GST exclusive basis, except for Accounts Receivable and Accounts Payable, which
are stated with GST included. Where GST is irrecoverable as an input tax, then it is recognised as part of the related asset or
expense.
n) Budget figures
The budget figures are those approved by the Board at the beginning of the financial year. The budget figures have been
prepared in accordance with generally accepted accounting practice and are consistent with the accounting policies adopted
by the Commission.
o) Taxation
The Commission is exempt from income tax in accordance with Section 29 of the New Zealand Film Commission Act 1978.
Changes in Accounting Policies
There have been no changes in accounting policies from those adopted in the last audited financial statements. The policies
have been applied on a basis consistent with other years.
Financial Statements
37

New Zealand Film Commission
Notes to the Financial Statements
For the year ended 30 June 2006
1. EQUITY 2006
$
a. Accumulated Funds
Opening Balance
Surplus/(deficit)
4,963,097
(4,096,327)
2005
$
2,475,319
2,487,778
Closing balance 866,770 4,963,097
2. ACCOUNTS RECEIVABLE 2006
$
Trade Debtors
Net GST due
Star Loans
1,059,231
0
168,723
2005
$
1,114,300
0
84,586
1,227,954 1,198,886
3. FIXED ASSETS
Leasehold Alterations
Computer Equipment
Office Equipment
Furniture & Fittings
2006
Cost
$
509,403
653,182
139,101
151,641
Less:
Accumulated
Depreciation
$
492,474
530,012
110,493
131,004
2006
Book Value
$
16,929
123,170
28,608
20,637
1,453,327 1,263,983 189,344
FIXED ASSETS
(Prior year Comparatives) 2005
Cost
$
Leasehold Alterations
Computer Equipment
Office Equipment
Furniture & Fittings
509,403
580,269
134,022
144,887
Less:
Accumulated
Depreciation
$
477,811
442,420
98,397
125,997
2005
Book Value
$
31,592
137,849
35,625
18,890
1,368,581 1,144,625 223,956
4. ACCOUNTS PAYABLE 2006
$
Trade Creditors
Sundry Accruals
Employee Entitlements
Net GST Payable
PAYE
Money held on Co-investor’s behalf
Other
489,535
143,543
77,547
209,533
825
292,623
0
2005
$
632,592
178,987
63,547
65,160
17,167
0
22,244
1,213,606 979,697
38 New Zealand Film Commission Annual Report 2006

5. FILM INCOME ACCOUNT
The film income account is used to collect and distribute to investors film proceeds received by the Film Commission in its role as sales agent
and / or trustee of certain films. The balance at 30 June represents film income received but not yet distributed and unpaid film sales invoices.
Balance from 1 July
Income from Sales
2006
$
1,385,941
5,190,627
2005
$
2,515,058
1,737,560
Total Film Income 6,576,568 4,252,618
Less: NZFC Distribution Fees
Less: Marketing & Other Expenses
(207,412)
(445,563)
(326,697)
(411,256)
Net Earnings 5,923,593 3,514,665
Less: Distributed to Investors
Less: Distributed to NZFC
(2,572,903)
(1,054,186)
(582,301)
(1,231,791)
2,296,504 1,700,573
Provision for Unrecouped Expenses Increase / (Decrease) (14,516) 179,644
Balance 30 June 2,281,988 1,880,217
Unpaid Invoices Increase / (Decrease) 26,907 (494,276)
Balance (including unpaid invoices) 2,308,895 1,385,941
6. DEVELOPMENT 2006
Actual
$
Feature Films – Development
External Services
Personnel Costs
2,179,582
48,470
283,195
2006
Budget
$
1,950,000
136,000
257,650
2005
Actual
$
1,956,348
136,734
241,831
2,511,247 2,343,650 2,334,913
7. PRODUCTION
Feature Films – Production Financing
Short Films – Production Financing
Signature Films
Screen Innovation Production Film Fund
Other Costs
17,387,355
1,102,825
19,834
350,000
158,085
13,200,000
1,165,000
750,000
350,000
145,000
10,406,640
1,202,563
52,993
350,000
114,398
19,018,099 15,610,000 12,126,594
8. PROFESIONAL DEVELOPMENT & INDUSTRY SUPPORT
Festivals and Awards
Creative Development
Industry Support
131,902
391,848
869,356
97,000
505,000
845,000
139,560
450,149
760,593
1,393,106 1,447,000 1,350,302
9. MARKETING AND SALES
Features Marketing
Shorts Marketing
Market Attendance
Sales Agency – Features
Sales Agency – Shorts
Personnel Costs
489,435
109,893
167,790
328,628
50,207
325,394
481,000
129,000
180,300
418,500
76,000
293,650
352,041
152,392
185,237
560,543
45,275
297,648
1,471,347 1,578,450 1,593,136
Financial Statements
39

10. CORPORATE
2006
Actual
$
2006
Budget
$
2005
Actual
$
Personnel Costs 973,610 832,700 808,098
Board Costs 144,893 177,000 118,379
Communications 96,513 121,000 195,324
Office Overheads 127,710 143,500 122,016
Depreciation:
Leasehold Alterations 14,663 15,000 18,926
Computer Equipment 87,593 90,000 69,831
Office Equipment 12,096 10,000 11,389
Furniture & Fittings 5,007 5,000 5,227
Rent 140,977 145,000 130,828
Audit Fees 33,878 31,000 31,000
Other Costs 570,656 423,000 478,340
2,207,596 1,993,200 1,989,358
11. STATEMENT OF COMMITMENTS
Lease Commitments
Non-cancellable operating leases for rental of accommodation.
Less than one year 140,977 133,875
Between one and two years 0 0
Between two and five years 0 0
More than five years 0 0
Total 140,977 133,875
2006
$
2005
$
12. STATEMENT OF CONTINGENT LIABILITIES
There were no contingent liabilities at balance date.
2006
$
2005
$
0 0
Total Contingent Liabilities 0 0
13. FINANCIAL INSTRUMENTS
In the normal course of business the Commission incurs credit risk from trade debtors and financial institutions. There are no major concentrations
of credit risk with respect to trade debtors and exposure to them is monitored on a regular basis.The Commission does not require any collateral or
security to support financial instruments due to the quality of the financial institutions dealt with.
The Commission is not exposed to any significant currency risk. If the Commission has reasonable assurance that a foreign exchange debtor will pay
on a due date and the sum is material then the Commission will use a foreign currency forward contract to manage the foreign currency exposure.
The forward exchange contracts outstanding at 30 June 2006 amounted to NIL (2005 = NIL) The Commission enters into foreign currency forward
contracts to hedge currency transactions. Any exposure to gains or losses on those contracts is generally offset by a related loss or gain on the item
being hedged. Apart from foreign currency forward contracts, all financial instruments are recognised in the Statement of Financial Position and all
revenues and expenses in relation to financial instruments are recognised in the Statement of Financial Performance. The estimated fair values of
the Commission’s financial assets and liabilities are as per disclosed in the financial statements.
All investments are short term with authorised New Zealand banks, thus maximising liquidity.
14. RELATED PARTY TRANSACTIONS
During the financial year 2005/06 the Commission agreed to:
Offer Forward Films Limited production financing of $1,269,000 for the feature film project The Rain of the Children. Board Member Tainui
Stephens is a co-producer for this film project. His fee is $15,000.
40 New Zealand Film Commission Annual Report 2006

15. EMPLOYEE REMUNERATION
During the year, the number of employees of the Commission, not being members, who received remuneration and other benefits in excess
of $100,000 were:
Remuneration
Number of Employees
2006 2005
$150,000 to $190,000 (Chief Executive) 1 1
$140,000 to $150,000 0 0
$130,000 to $140,000 1 2
$120,000 to $130,000 0 0
$110,000 to $120,000 0 0
$100,000 to $110,000 2 0
During the year severance pay amounting to $10,256 was paid to employees.
16. RECONCILIATION OF NET CASH FLOWS FROM OPERATING ACTIVITIES WITH THE NET SURPLUS FOR THE YEAR
Net Surplus (4,096,327) 2,487,778
Add back: Non Cash Items
2006
$
Loss on Disposals 0
Depreciation 119,359 105,373
Movements in Working Capital
2005
$
(3,976,968) 2,593,151
Decrease (Increase) in Accounts Receivable after excluding Capital Items 55,069 757,128
(Decrease) Increase in Accounts Payable after excluding Capital Items 233,909 197,001
(Decrease) Increase in Film Income Account 922,954 (1,129,117)
(Decrease) Increase in Project Commitments 6,238,587 2,550,164
Total Movements in Working Capital 7,450,519 2,375,176
Net Cash Flows from Operating Activities 3,473,551 4,968,327
17. BOARD FEES
Board members earned the following fees during the year.
Barrie Everard (Chairman) 30,000 30,000
James Wallace 10,000 4,475
William Somerville 10,000 3,875
Tainui Stephens 10,000 3,500
Bob Harvey 10,000 3,400
Bill Birnie 10,000 3,350
Helene Wong 10,000 3,750
Lisa Chatfield 2,575 4,000
2006
$
2005
$
92,575 56,350
18. MAJOR BUDGET VARIATIONS
Income for the year was 2% below budget. This was primarily due to lower than projected collections from film sales and the associated sales
commission. The shortfall is only one of timing however and the uncollected sales revenue initially budgeted for 2005/06 is expected to be
collected in the 2006/07 financial year.
Income was boosted by unbudgeted writebacks of prior year conditional financing offers to two feature film projects (THE PATCHWORK BEAR
and THE PLEASURE DOME). Interest income was 45% higher than budgeted due to higher than anticipated average cash on hand during the
financial year.
Total expenditure was 15.8% above budget in total, due mainly to committing 21.8% more than initially budgeted to feature film production.
This was possible because the equity brought forward into the 2005/06 financial year was higher than was expected at the time the budget
was prepared. Corporate costs were 10.7% over budget due mainly to additional staff being hired during the period, together with higher
than forecast staff turnover and additional activity in the areas of public relations, professional fees and industry functions.
As a result of lower than projected total income and higher than projected total expenditure in the year the Commission recorded a deficit of
$4,096,327, rather than the budgeted surplus of $70,700.
19. FIRST TIME ADOPTION OF NEW ZEALAND EQUIVALENTS TO INTERNATIONAL FINANCIAL REPORTING STANDARDS (NZ IFRS)
For financial reporting periods commencing on or after 1 January 2007, New Zealand entities will be required to adopt NZIFRS
To prepare for and manage the transition a project team has been established to:
a) Identify and understand the impact of adopting NZ IFRS
b) Review and update, where necessary, the Commission’s accounting policies to ensure they are fully compliant with NZ IFRS.
The actual impact of adopting NZ IFRS is not known and may be material.
Financial Statements
41

Statement of Objectives and
Service Performance
For the year ending 30 June 2006
Goals, measures and targets
Cultural capital
Goals
1. To maintain the number of New Zealand films including larger budget
films.
2. To develop greater quality and depth of film projects through investing in
the upskilling of writers, producers and directors.
Achievement
Performance measures
1. Number of New Zealand films produced – features, shorts, digital,
signature
2. Number of successful films at the New Zealand box office
Targets 2005/2006
1. Investment in four feature films including
1-2 larger budget films,
2-3 first features,
9 short films,
2 digital films,
2 Signature films
2. Successful domestic release of Perfect Creature, River Queen, and The World’s
Fastest Indian
2. Cultural storytelling
Goals
3. To support culturally specific films which reflect New Zealand’s multicultural
society.
4. To ensure that Maori films and filmmakers have a strong platform from
which to reflect our cultural distinctiveness
5. To have a high-quality pool of film projects suitable for funding against
clearly established criteria
Investment in ten feature films (details page
8), including two larger-budget films,
five first features
nine short films
one digital film
Four Signature films in development
Successful domestic releases of River Queen
(page 16) and The World’s Fastest Indian
(page 14)
Perfect Creature not yet released
Performance measures
3. Number of culturally specific films produced
4. Number of Maori key creatives in features, digital films, signature projects
and shorts
5. Funding demand from suitable films relative to funds available
6. Domestic and international market attachments
Targets 2005/06
3. Project demand from suitable films greater than funds available
4. Four culturally specific films (including digital and signature) every year
5. Number of Maori key creatives as determined by current survey approach,
steadily increases
6. Implement Te Paepae Ataata by 30 June 2006
7. 60 per cent of feature films with domestic and/or international market
attachments
19 projects seeking investment; 10 projects
funded
Five culturally specific features released (pages
12-17); investment in The Rain Of Children (page 7)
Survey completed (page 28)
In progress: memorandum of understanding
prepared and discussed with Nga Aho
Whakaari (page 29)
100 per cent of features with domestic
distributors
42 New Zealand Film Commission Annual Report 2006

Vibrant international profile
Goals
6. To achieve effective relationships with targeted international organizations
(eg festivals, sales agencies, distributors, media and overseas government
agencies)
7. To achieve stronger international sales and marketing of NZ films including
short films
8. to effectively implement the Large Budget Screen Production Grant Scheme
(LBSPGS)
Performance measures
7. Internationally successful feature films
8. Internationally successful short films
9. Stronger international positioning for sales agency
10. Leverage off current high international profile of NZ films
11. Consistent, transparent, approachable, timely management of the LBGS
Targets 2005/06
8. Sales Agency management committee structure to be implemented
9. LBSPGS administration meets targets of timeliness
Sales agency management committee
established with two meetings (page 11)
Targets met for 4 of 5 applications (page 30)
Stronger financing
Goals
9. To maintain and develop the overall funding available to support the work
of the NZFC from government and private sources
10. To further develop international co-financing opportunities including coproduction
treaties
Performance measures
12. Level of funds available
13. Films with international financing
14. Average leverage achieved on NZFC funds
Targets 2005/06
10. Maintain current level of public investment in film
11. Two films with international partners per year
12. Leverage achieved on NZFC funds increase from $1:$.89 to $1:$1
Investment in ten features, three more than
the previous year (page 8)
Four features attract international investment
(page 8)
Leverage achieved: $1: $1.08
Financial Statements
43

Partnerships
Goal
11. To achieve a stronger partnership approach with government, filmmakers
and key industry participants and organizations
Performance measure
15. Key stakeholder support for NZFC’s film industry role
Targets 2005/06
13. New filmmaker equity incentive model implemented by 30 June 2006
14. Partner with industry guilds and/or associations on at least three joint
ventures per year
15. Implement successful Signature film partnership with TVNZ and NZ On Air
16. Maintain successful Film Fund capability
17. Implement and monitor NZ Film Archive dvd strategy
Discussions with industry ongoing (page 29)
Three joint ventures (page 30)
Four Signature films in development (page 8)
Investment in sixth feature with Film Fund
(page 6); develop Film Fund 2 (page 29)
Pilot scheme implemented
Accountability and measurement
Goal
12. To operate a robust accountability framework and measurement reporting
system
Performance measures
16. All successful films must achieve in several or all of the following ways:
• Reach a domestic audience
• Reach an international audience
• Generate a return on investment
• Generate cultural capital
• Leverage further opportunities for key creatives
17. Enhanced performance measurement system
Targets 2005/06
18. Implement and monitor staff performance measurement system aligned
with Strategic Plan
19. Maintain enhanced management reporting system to Board and
Government by 15 December 2005
20. Unqualified audit opinion from Audit NZ with “excellent” grading on all
3 Financial Management aspects rated
All performance agreements in place
Risk management reporting upgraded and
aligned with Strategic Plan
Unqualified opinion received, gradings not yet
received
44 New Zealand Film Commission Annual Report 2006

Audit Report
To the readers of the New Zealand Film Commission’s Financial Statements
For The Year Ended 30 June 2006
The Auditor-General is the auditor of the New Zealand Film
Commission. The Auditor-General has appointed me, John
O’Connell, using the staff and resources of Audit New Zealand,
to carry out the audit of the financial statements of the New
Zealand Film Commission, on his behalf, for the year ended
30 June 2006.
Unqualified opinion
In our opinion the financial statements of the New Zealand Film
Commission on pages 32 to 44:
• comply with generally accepted accounting practice in New
Zealand; and
• fairly reflect:
– the New Zealand Film Commission’s financial position as
at 30 June 2006;
– the results of its operations and cash flows for the year
ended on that date; and
– its service performance achievements measured against
the performance targets adopted for the year ended on
that date.
The audit was completed on 27 October 2006, and is the date at
which our opinion is expressed.
The basis of our opinion is explained below. In addition, we
outline the responsibilities of the Board and the Auditor, and
explain our independence.
Basis of opinion
We carried out the audit in accordance with the Auditor-
General’s Auditing Standards, which incorporate the New
Zealand Auditing Standards.
We planned and performed the audit to obtain all the
information and explanations we considered necessary in order to
obtain reasonable assurance that the financial statements did not
have material misstatements, whether caused by fraud or error.
Material misstatements are differences or omissions of
amounts and disclosures that would affect a reader’s overall
understanding of the financial statements. If we had found
material misstatements that were not corrected, we would have
referred to them in our opinion.
The audit involved performing procedures to test the
information presented in the financial statements. We assessed
the results of those procedures in forming our opinion.
Audit procedures generally include:
• determining whether significant financial and management
controls are working and can be relied on to produce
complete and accurate data;
• verifying samples of transactions and account balances;
• performing analyses to identify anomalies in the reported data;
• reviewing significant estimates and judgements made by the
Board;
• confirming year-end balances;
• determining whether accounting policies are appropriate and
consistently applied; and
• determining whether all financial statement disclosures are
adequate.
We did not examine every transaction, nor do we guarantee
complete accuracy of the financial statements.
We evaluated the overall adequacy of the presentation of
information in the financial statements. We obtained all the
information and explanations we required to support our
opinion above.
Responsibilities of the Board and the
Auditor
The Board is responsible for preparing financial statements
in accordance with generally accepted accounting practice in
New Zealand. Those financial statements must fairly reflect
the financial position of the New Zealand Film Commission
as at 30 June 2006. They must also fairly reflect the results
of its operations and cash flows and service performance
achievements for the year ended on that date. The Board’s
responsibilities arise from the Public Finance Act 1989 and the
New Zealand Film Commission Act 1978.
We are responsible for expressing an independent opinion
on the financial statements and reporting that opinion to you.
This responsibility arises from section 15 of the Public Audit Act
2001 and the Public Finance Act 1989.
Independence
When carrying out the audit we followed the independence
requirements of the Auditor-General, which incorporate the
independence requirements of the Institute of Chartered
Accountants of New Zealand.
Other than the audit, we have no relationship with or
interests in the New Zealand Film Commission.
John O’Connell
Audit New Zealand
On behalf of the Auditor-General
Wellington, New Zealand
Matters relating to the electronic presentation of
the audited financial statements
This audit report relates to the financial statements of the New Zealand
Film Commission for the year ended 30 June 2006 included on the
New Zealand Film Commission’s website. The Board is responsible for
the maintenance and integrity of the New Zealand Film Commission’s
website. We have not been engaged to report on the integrity of the
New Zealand Film Commission’s web site. We accept no responsibility
for any changes that may have occurred to the financial statements
since they were initially presented on the web site.
The audit report refers only to the financial statements named
above. It does not provide an opinion on any other information which
may have been hyperlinked to/from these financial statements. If
readers of this report are concerned with the inherent risks arising from
electronic data communication they should refer to the published hard
copy of the audited financial statements and related audit report dated
27 October 2006 to confirm the information included in the audited
financial statements presented on this web site.
Legislation in New Zealand governing the preparation and
dissemination of financial statements may differ from legislation in
other jurisdictions.
Financial Statements
45

Appendix
A. New feature films offered conditional
production investment from the NZFC
Be Very Afraid
Producer:
Director–writer:
Eagle vs. Shark
Producers:
Director–writer:
The Ferryman
Producers:
Writer:
Director:
Out Of The Blue
Producers:
Writers:
Director:
The Strength of Water
Producer:
Writer:
Director:
The Tattooist
Producer:
Writers:
Director:
The Rain of Children
Producers:
Director–writer:
The Vintner’s Luck
Producers:
Writers:
Director:
Bi.
John Barnett, South Pacific Pictures Ltd
Jonothan Cullinane
Ainsley Gardiner and Cliff Curtis, Whenua Films Ltd
Taika Waititi
Matthew Metcalfe and Richard Fletcher,
TF Productions
Nick Ward
Chris Graham
Tim White, Steven O’Meagher, Candor Films Ltd
Graeme Tetley with Robert Sarkies
Robert Sarkies
Fiona Copland, Filmwork Ltd
Briar Grace-Smith
Armagan Ballantyne
Robin Scholes, Touchdown Film and Drama Ltd
Matthew Grainger, Jonathan King
Peter Burger
Margaret Slater, Vincent Ward, Tainui Stephens,
Forward Films
Vincent Ward
Niki Caro and Laurie Parker, Hysteric Pictures Ltd
Niki Caro and Joan Scheckel
Niki Caro
Feature film with additional production
investment from the NZFC
Black Sheep
Producer:
Director–writer:
Phillippa Campbell, Livestock Films Ltd
Jonathan King
Bii. Digital feature with production investment from
the NZFC
The Devil Dared Me To
Producers:
Director:
Writers:
Matt Heath and Karl Zohrab
Matt Heath
Matt Heath and Chris Stapp
Biii. Feature film with post-production investment
from the NZFC
Eagle vs. Shark
Producer:
Director–writer:
Ainsley Gardiner and Cliff Curtis, Whenua Films Ltd
Taika Waititi
Biv. Digital features with post-production finance
from the NZFC
Event 16 $7,500
Producers:
Derek Pearson and Catherine Fitzgerald,
Nine Eyes Pictures
Director–writer:
Derek Pearson
The Last Resort $5,437.50
Producers:
Errol Wright and Abi King-Jones
Directors-writers:
Errol Wright and Abi King-Jones
Squeegee Bandit $15,000
Producers:
Rhonda Kite and Sandor Lau, Kiwa Media Ltd
Director–writer:
Sandor Lau
Struggle No More $14,600
Producer, director, writer: Costa Botes, Lone Pine Film and TV Productions
The Waimate Conspiracy $5486
Producer, director, writer: Stefan Harris, Dark Horse Productions Ltd
Waves $8,600
Producer, director, writer: Li Tao, Li Tao Film Production
C. Feature film projects with development finance
from the NZFC
1. Staff committee/CEO delegations
Battle on the Bergs $15,000
Producer:
Sue Rogers, Midnight Film Productions
Director–writer:
Jason Stutter
Dare $15,000
Producer:
Karl Zohrab, Elevenmedia Ltd
Writers:
Jesse Warn, Andrew Rowell
Director:
Jesse Warn
Electric $15,000.00 and $14,750
Producer:
Michael Wrenn, Paydirt Productions
Writer:
Chad Taylor
Director:
Brendan Donovan
Flight $15,000
Producer:
Michele Fantl, MF Films Ltd
Director–writer:
Welby Ings
Gery Lemonson $7,000
Producer:
Karl Zohrab, Elevenmedia Ltd
Writer:
Peter Cox
Heavens to Die For $15,000
Producer:
Rhonda Kite, Kiwa Film Ltd
Writer:
Te Rangimarie Sharples
Home By Christmas $15,000
Producer:
Gaylene Preston, Gaylene Preston Productions Ltd
Director–writer:
Gaylene Preston
Inside Dope $15,000
Producer:
Murray Francis, Film Business Ltd
Writer:
Reuben Pollock
Director:
Jesse Warn
Karanga $15,000
Producers:
Lisa Convey, Brad Haami, Red Flower Films Ltd
Writer:
Kath Akuhata-Brown
Mayhem Marae $15,000.00 and $15,000
Producer:
Gavin Strawhan, Spoken Word Ltd
Writers:
Michael Bennett and Gavin Strawhan
Director:
Michael Bennett
Ming $6,500
Producer:
Rhonda Kite, Kiwa Film Ltd
Writer:
Christine Chan-Hyams
Pompallier $15,000
Producer:
Tim Sanders, Sensible Films
Writer:
Mike Riddell
Predicament $15,000
Producer:
Sue Rogers, Midnight Film Productions
Director–writer:
Jason Stutter
Projector Room $15,000
Director–writer:
Jesse Warn
Radio Pirates $15,000
Producers:
Craig Newland & Jozsef Fityus, No.8 Films Ltd
Writers:
Andrew Gunn & Craig Newland
Director:
David Blyth
Realiti $14,500
Producers:
Jonathan King & Matthew Grainger, Index Films Ltd
Writer:
Chad Taylor
Director:
Jonathan King
Stonedogs $15,000
Producer:
Jackie Dennis, Mushroom Pictures Ltd
Writer:
Rene Naufahu
Tapu $15,000
Producers:
Christine Jeffs, Laurie Parker, Rose Road Ltd
Writers:
Christine Jeffs, Laurie Parker
Director:
Christine Jeffs
The Ferryman $12,000
Producer:
Matthew Metcalfe, General Film Corporation Ltd
Writer:
Nick Ward
Director:
Chris Graham
46 New Zealand Film Commission Annual Report 2006

The Most Fun You Can Have Dying $15,000
Producer:
Alex Cole-Baker, Chocolate Fish Pictures Ltd
Director–writer:
Kirstin Marcon
The Pinch $5,000.00 and $15,000
Producer:
John Keir, Keirfilm Productions Ltd
Director–writer:
Grant Lahood
The Snow Falcon $8,809
Producer:
Jay Cassells, Huntaway Films Ltd
Writer:
Stuart Harrison
The Vent $15,000
Producer:
Steve Sachs, Rocket Pictures Ltd
Director–writer:
Greg Page
Three Little Maids $5,000
Producer:
Alex Cole-Baker, Chocolate Fish Pictures Ltd
Writer:
Bernard Beckett
Uncle’s Story $15,000
Producer:
John Givins, Livingstone Productions Ltd
Writer:
Victor Rodger
Wild Pork and Watercress $15,000
Producers:
Ainsley Gardiner, Charlie McClellan, Wild Pork Ltd
Director–writer:
Taika Waititi
2. Development Committee
A Song of Good $15,000
Producer:
Leanne Saunders, Severe Features
Director–writer:
Gregory King
Behind the Tattooed Face $13,000
Producer:
Rena Owen, Polywood Productions Ltd
Writers:
Riwia Brown, Rena Owen
Belinda’s Notes $18,000.
Producer:
Michele Fantl, MF Films Ltd
Director–writer:
Dorthe Scheffman
Bloodlines $15,500
Producer:
Trevor Haysom, THE Film Ltd
Director–writer:
Rene Naufahu
Firebird $25,000
Producer:
Rachel Jean, Isola Productions Ltd
Writer:
Peter Wells
Director:
Christine Parker
Heavenscent $22,500
Producer:
Rhonda Kite, Kiwa Film Ltd
Writer:
Te Rangimarie Sharples
Pania $12,000
Producers:
James Wallace and Steve Bowden, James Wallace
Productions Ltd
Writers:
Peter Day and Virginia Heath
Director:
Virginia Heath
Riverside Drive $23,100
Producer:
Robin Laing, Meridian Film Productions Ltd
Writer:
Graeme Tetley
Stark $11,000
Producer:
Philippa Campbell, Escapade Pictures Ltd
Writer:
Dean Parker
Director:
Virginia Pitts
The Ferryman $39,850
Producer:
Matthew Metcalfe, General Film Corporation Ltd
Writer:
Nick Ward
Director:
Chris Graham
The Natives of New Zealand $29,000
Producer:
Rhonda Kite, Silver Eel Films Ltd
Writer:
Ashley Pharoah
The Paraffin Child $15,500.00 and $28,500
Producer:
Trevor Haysom, THE Film Ltd
Director–writer:
Simone Horrocks
The Vent $42,000
Producer:
Steve Sachs, Rocket Pictures Ltd
Director–writer:
Greg Page
Wrestler $20,000
Producer:
Fraser Clark, Chameleon Films Ltd
Director–writer:
Chris Clark
3. CEO-approved development commitments
A Life in Romance $15,000
Producers:
Tim White, Vanessa Alexander, Ellis Bell Ltd
Director–writer:
Vanessa Alexander
Behind the Tattooed Face $15,000
Producer:
Rena Owen, Polywood Productions Ltd
Writers:
Riwia Brown, Rena Owen, Brad Haami
Pompallier $15,000
Producer:
Tim Sanders, Sensible Films
Writer:
Mike Riddell
Stonedogs $15,000
Producer:
Jackie Dennis, Mushroom Pictures Ltd
Writer:
Rene Naufahu
4. Board-approved development commitments
Collision $20,000
Producer:
Robin Scholes, Touchdown Film and Drama
Director–writer:
Brendan Donovan
Lenny Minute $200,000
Producer:
Tim Sanders, Crimbil Equities Ltd
Director–writer:
Glenn Standring
Mahana $40,000
Producers:
Nik Beachman and Andrew Bancroft, Affinity
Films
Writer:
Hone Kouka
Director:
Andrew Bancroft
Out of the Blue $29,450
Producers:
Tim White, Steven O’Meagher, Condor Films Ltd
Writer:
Graeme Tetley with Robert Sarkies
Director:
Robert Sarkies
The Vintner’s Luck $225,000, $75,000 and $29,400
Producers:
Niki Caro and Laurie Parker, Hysteric Pictures Ltd
Writers:
Niki Caro and Joan Scheckel
Director:
Niki Caro
The Tattooist $98,923 and $20,000
Producer:
Robin Scholes, Touchdown Film and Drama Ltd
Writers:
Matthew Grainger, Jonathan King
Director:
Peter Burger
D. Devolved development funds
T.H.E. Film Ltd $200,000
E. Producer overhead funds
Crimbil Equities Ltd $100,000
Gaylene Preston Productions Ltd $50,000
Minute Productions Ltd $100,000
Rose Road Ltd $100,000
Southern Light Films Ltd $50,000
Toa Fraser $50,000
F. Producers’ market assistance
Nik Beachman to attend Cannes $ 7,500
Fiona Copland to attend Cannes $ 7,500
Grant Bradley to attend Cannes $ 6,000
Rhonda Kite to attend Cannes $ 6,000
Don Reynolds to attend Toronto $ 5,460
Grant Bradley to attend AFM $ 5,000
Sue Rogers to attend AFM $ 5,000
Leanne Saunders to attend SPAAmart $ 2,500
Ainsley Gardiner to attend SPAAmart $ 2,500
Matthew Metcalfe to attend SPAAmart $ 2,500
Angela Littlejohn to attend No Borders $ 4,500
Rachel Gardner to attend No Borders $ 4,500
Leanne Saunders to attend CineMart $ 3,760
Robin Laing to attend CineMart $ 3,760
Paora Maxwell to attend CineMart $ 3,760
Gregory King to attend Cinemart $ 3,760
Appendix
47

G. Travel assistance to film festivals:
feature films
Stewart Main to Toronto $6,058
short films
Jane Shearer and Leanne Saunders to Cannes $10,000
Michael Duignan to New York $3,350
Tearepa Kahi to Berlin $3,409
Veialu Aila-Unsworth to Berlin $3,305
H. Short film projects with Maori key creatives
with finance from the NZFC
Taua
Director–writer
Producers
Executive Producer
Ebony Society
Director:
Writer:
Producer:
Executive Producer:
Tearepa Kahi
Tearepa Kahi and Quinton Hita
Whenua Films
Nancy Brunning
Tammy Davis
Makerita Urale
Blueskin Films
I. Short film projects with production finance
from the NZFC
The King Boys $100,000
Director–writer
Chris Clark
Producer
Fraser Clark
Executive Producer: Blueskin Films
Ebony Society $100,000
Director:
Nancy Brunning
Writer:
Tammy Davis
Producer:
Makerita Urale
Executive Producer: Blueskin Films
The Lethal Innocents $100,000
Director–writer
Kirsty Cameron
Producers:
Michele Fantl and Michelle Driscoll
Executive Producer: Blueskin Films
Run $100,000
Director:
Mark Albiston
Writer:
Louis Sutherland
Producer:
Robyn Murphy
Executive Producer: Short Intercept
The Off-Season $100,000
Director:
Michael Lonsdale
Writers:
Michael Lamb and Michael Lonsdale
Producer:
Camillo Spath
Executive Producer: Short Intercept
The Graffiti of Mr Kynyatta $100,000
Director:
Peter Burger
Writer:
Paul Ward
Producer:
Vicky Pope
Executive Producer: Short Intercept
Shadow Over The Sun $90,000
Director–writer:
Rachael Douglas
Producer:
Michelle Turner
Executive Producer Whenua Films
Coffee and Allah $102,000
Director:
Sima Urale
Writer:
Shuchi Kothari
Producers:
Shuchi Kothari and Sarina Pearson
Executive Producer Whenua Films
Taua $108,000
Director–writer:
Tearepa Kahi
Producer:
Quinton Hita
Executive Producer Whenua Films
J. Short film projects with post-production
finance from the NZFC
Blue Willow $21,867
Director–writer-producer Veialu Aila-Unsworth
break $27,958
Director–writer
Shona McCullagh
Producer:
Ashley Stuart-Copeland
K. Professional development
Accelerator $3,675
Arista Script Editing Workshop and consultancy. $34,250
Cinemart $43,139
Cinemart preparation/Tom Strudwick $20,000
Distribution seminar $10,816
Judith Weston Directors Workshop $25,000
Maryanne Redpath $1,500
Maurits Binger Institute $32,700
No Borders, NY Independent Film Market $20,000
Noah Cowan visit $2,943
Re-write Workshop $35,000
SPAAfringe and DigiSPAA $5,000
SPAAmart $50,000
SPARK $16,240
1st Writers Initiative $68,174
L. Industry support
Film New Zealand $40,000
New Zealand Federation of Film Societies 15,000
New Zealand Film Archive $295,000
New Zealand Film Festival Trust $40,000
New Zealand Screen Awards $40,075
New Zealand Writers Guild $75,000
Nga Aho Whakaari $60,000
Screen Directors Guild of New Zealand $142,500
Screen Production and Development Association $85,000
Script To Screen $120,000
Wairoa Maori Film Festival $15,000
Wellington Fringe Film Festival $6,750
Women in Film and Television $50,000
48 Hour Film Festival $5,000
M. Grants to assist NZ distribution
20th Century Fox and Silver Screen for River Queen $75,000
Buena Vista for No.2 $71,200
Sony. Village, South Pacific for Sione’s Wedding $75,000
Arkles Entertainment for 50 Ways Of Saying Fabulous $6,000
N. Film and/or television productions receiving
certification from the NZFC as New Zealand
films for the purposes of section EO 4 of the
Income Tax Act 1994
Final
Waka Huia (5 of 38 episodes) – TVNZ
Taste Takes Off/Taste New Zealand (7 of 13 episodes) – TVNZ
Country Calendar (3 of 27 episodes) – TVNZ
Mucking In (10 of 10 episodes) – TVNZ
Home Front (8 of 13 episodes) – TVNZ
Praise Be (4 of 46 episodes) – TVNZ
Provisional
Knife Shift (35mm short film) – Shifty Pictures
O. Productions certified as official
co-productions
Provisional
The Ferryman – 35mm feature film
Official co-production between New Zealand and the United Kingdom
TF Productions (New Zealand)
Atlantic Film Productions Ltd (UK)
Jane And The Dragon – children’s animated TV series (26 half-hour episodes)
Official co-production between New Zealand and Canada
Weta Workshop Ltd (New Zealand)
Nelvana Ltd (Canada)
48 New Zealand Film Commission Annual Report 2006

Senior staff as at 30 June 2006
Ruth Harley
Chief Executive
Mladen Ivancic
Deputy Chief Executive
Sarah Cull
Head of Business Affairs
James Thompson
Business Affairs Executive
Lee Frew
Accountant
Caroline Grose
Head of Development
Hone Kouka
Development Executive
Tim O’Brien
Development Executive
Kathleen Drumm
Head of Marketing and Sales
Kate Kennedy
Short Film Marketing and Sales
www.nzfilm.co.nz