Wednesday 24 Nov – gigs

Hi all. There are three awesome gigs on tomorrow night. I can’t make all of them. You should!

First, Tony Wilson will be playing in Kroon for your Kai at The Southern Cross (Abel Smith Street). Kicks off around 6.30pm.

Tony Wilson
Tony Wilson Live

Tony is amazing, if you haven’t heard him. I’ve got his album on my ipod, and each time a song I like comes up, I feel like messaging him a ‘well done’. If you can make it to the gig, afterwards, go and buy a copy of Tony’s album Time In Space.

Tony Wilson album
Time In Space

Kroon for your Kai is free – just rock on up to The Cross, grab a drink, sit and listen. He’s playing with Joe Simmons. I’ll be there, as we’ve got a meeting for The Lake just beforehand.

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Love Sets Sail

Hi everyone,

Check out Slam Safari’s latest music video, for Love Sets Sail, directed by Adham Crichton.

I know Sam from his band, Say No To Tango. We’ve had them play at a few MASC gigs, and they’re always great. Keep an eye out for Sam (aka Slam Safari) and Say No To Tango. Yay for music videos.

Naenae Festival

I’m performing with The Sirocco Middle Eastern Dancers at the Naenae Festival. (–Culture/Huttscene-events/Event/Naenae-Festival/)  Here are the details for our performance, if you want to come along and see.

Date: Saturday 27 November
Time: We’re on at 10.45am, on the stage. It’s a 15 minute performance – so you’ll miss us if they’re running to time and you turn up at 11am.
Where: Hillary Court, Naenae. There’ll be a stage, which we’ll be on.

We’ve got a bracket of four dances: a cane dance, two beledi dances, and (my favourite) a drum dance. I think I’m premiering my new beledi dress – I’m pretty sure I haven’t had the chance to wear it in performance yet.

The Sirocco Middle Eastern Dancers will perform a bracket of dances from around the middle east. The first two were choreographed especially for Sirocco by local dancers and the last two were choreographed by American dancers and passed on to us. These dances are in beledi or ethnic style and costume, rather than the cabaret that many people associate with belly dancing. The bracket opens with a cane dance in Egyptian style and this is followed by Harida’s Baladi, then a Persian beledi, in Iranian folk style. The finale is a lively interpretation of the traditional song Tammerhenna.

Peter Briggs

On Wednesday 17, after The Lake meeting, Keryn and I went to The Film Archive to attend the final Writer’s Discussion Panel for 2011. The event was a discussion with Peter Briggs, who has been working in Hollywood as a writer for 20 years, and who wrote Hellboy. He is currently in Wellington in pre-production for Panzer 88 and Mortis Rex (which look to be fantastically awesome films!)

Peter Briggs article on the Script To Screen website.


This event is part of the 2010 Wellington Discussion Series brought to you by Script to Screen, Nga Aho Whakaari, the NZ Writers Guild and the NZ Film Archive

The discussion was lead by Jonathan King, (director of Black Sheep and Under The Mountain).

The discussion was fantastic. I was smiling the entire time I was enjoying it so much. Peter is humourous, jovial, a great storyteller (of course). He was telling us about how his script writing career is an example of how not to do it. He wrote the spec script for Starship Troopers (I love that movie). He wrote a spec script for Alien vs. Predator, but didn’t own the property. Through an amazing fluke of being in the right place, right time, it got picked-up. A one-in-a-million chance!

We heard about politics in Hollywood, and things to keep an eye out for as script writers. Script writers in Hollywood may find themselves earning money, but never getting produced! Peter had such a sense of humour and revelled in hilarious self-deprecation; it was great. And the tips were so wonderful.

Also, we got shown some concept art and told about his upcoming films – Panzer 88 and Mortis Rex. I’m excited already! The former, a team of German soldiers in WWII, and being hunted by a Jewish protective demon. The latter, the Romans are building Hadrian’s Wall, and are being attacked by dinosaurs! So. Cool.

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Documentary Seminar

I was on a workshop today on directing documentaries, with Leeanne Pooley. It’s a two-day seminar at the Film Archive, presented in association with the Screen Director’s Guild of NZ, the NZFC, and the NZ Film Archive. I suppose also with Leeanne’s production company, Spacific Films. We got given a free copy of Take, the Screen Director’s Guild magazine, with a SDGNZ sign-up sheet. [But, I’m not a full-time student, so I don’t think I can take advantage of the student rate. Oh well, I probably won’t sign up yet then.]

Before the workshop, we were sent a DVD copy of Leeanne’s documentary on NZ male ballerina (ballerino?) Douglas Wright, called Haunting Douglas. The film has an amazing opening scene, btw. Douglas dancing naked with a candle. We were also asked to watch Pooley’s acclaimed documentary on the Topp Twins, Untouchable Girls. I watched it last night – again, a really good doco.

The first thing Leeane asked was whether we had googled her. Uh… no. She pointed out you should always google the person giving a seminar before you sign up or pay any money, to make sure that they know what they’re talking about. Lesson learnt – I’m googling now, in preparation for tomorrow.

For my Honours study next year, I was considering doing a documentary film. Within the first hour of the seminar, I realised that my possible topics need a massive amount of work before I shoot anything!

So far the seminar is going really well. Leeane knows her stuff. She’s given us a huge workbook of notes (so we don’t have to take our own), and a list of docos that we should see. Out of the list of 28 films, I had seen a grand total of 1 (The Corporation). So I went to Civic Video and got a few of them out. I just watched The Kid Stays In The Picture. (Fantastic. Really great). I’m considering watching Capturing The Friedmans, but I’m really tired. If it’s around 90 minutes, I’m gonna watch it tonight. If not, I’m saving it for later, along with The Fog Of War.

And, I finally remembered to take my business cards to a film event. I’ve swapped cards with some people in the workshop. Two thumbs up for me.

Eva Prowse Album Release

I Cant Keep Secrets
Eva Prowe Album – I Can’t Keep Secrets

My friend Eva Prowse is having her album release tonight. I’m gutted that I can’t make it (as I have a meeting for The Lake, and then I’m attending the Script-To-Screen discussion with Peter Briggs, and then I’m meeting a friend about a job, and then have a skype date. Phew!).

For anyone who can make it, do go along. It’ll be fantastic! Eva was interviewed in The Capital Times this week.

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Short Filmmaking Seminar

On Monday 15 November, I attended a seminar on making short films, as part of the Show Me Shorts Film Festival. The Bergman Theatre at Paramount was packed with filmmakers after tips, and perhaps plebs wanting to know more about filmmaking. The event was hosted by

Three filmmakers who have shorts screening in the festival were interviewed. The filmmakers were Paul Stanley-Ward, writer of Choice Night; Michelle Savill, writer/director/producer of Betty Banned Sweets; and Paul Campion, writer/director of Eel Girl (official website here) (IMDB page here). We got to see the films, and ask the filmmakers questions.

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Remakes – ugh

A good article on the Hollywood remake, with reference to The Girl With The Dragon Tattoo films and Let Me In / Let The Right One In.

I loathe Hollywood remaking great foreign films. I loathe overdubbing. I think people should learn to read subtitles.

That said, something that also irks me is when people with a similar view to mine blame Americans solely. As in “Americans should learn to read subtitles”. 1) that is a gross generalisation, and the American audience shouldn’t be lumped into one ‘can’t and won’t read subtitles’ box; and 2) it’s not just the American Hollywood audience who don’t like to read subtitles. When I was in Belgium, my host brother complained that he didn’t want to see the version originale of an anglophone film, as he didn’t “want to read a film!” So, not just anglophone audiences (pardon the generalisation) who dislike subtitles.

A thought I had is that it may be easier for foreign markets to translate from American English into their language. It may be easier to find an English translator than an obscure language translator. Also, if there are cultural translations available, due to the globalisation of American culture, it may be easier for an audience to understand and for a translator to translate. Sad but true.

And then there is the dumbing down… being a cinephile, you’ll have to get used to any patronising attitude on my part to losing cultural significance in movies for the lowest common denominator. However, someone suggested to me once that concepts are easier for the international audience to understand if they are dumbed down. Hence my thought about translation being easier. So Hollywood makes films more basic to understand for the international audience, not the American audience? Something to think about.

Development Tools

I just saw this. I’m thinking that it might be something worthwhile once I’m working on feature films. For those wondering, I’ve applied for a scriptwriting course in 2011, which will lead to writing a feature script. As a producer, getting into feature film script development interests me. But I think having written a feature myself would be extremely beneficial before looking into feature script development in a producing role.
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