WEBVTT - Recent successes for NZ film industry comes as rising costs challenges the industry

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<v Speaker 1>Jelder.

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<v Speaker 2>I'm Chelsea Daniels and this is the Front Page, a

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<v Speaker 2>daily podcast presented by the New Zealand Herald. You meet

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<v Speaker 2>anyone overseas and say New Zealand. The first thing they

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<v Speaker 2>bring up is Hobbits. Lord of the Rings was a

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<v Speaker 2>crowning achievement for film production in Altieroa and opened the

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<v Speaker 2>door for more movies to be filmed here.

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<v Speaker 3>A Minecraft movie is just the latest.

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<v Speaker 2>Overseas blockbuster to be produced on our shores, and that's

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<v Speaker 2>hitting cinemas around the world this weekend, while local film

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<v Speaker 2>Tina has been.

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<v Speaker 3>A box office sensation.

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<v Speaker 2>But as the cost of film production saws around the world,

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<v Speaker 2>what does the future hold for New Zealand and can

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<v Speaker 2>we break out of the shadow of Middle Earth? Today

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<v Speaker 2>on the front Page, we're off to the movies with

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<v Speaker 2>the Chief Executive of the Enzed Film Commission, Annie Murray. Annie,

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<v Speaker 2>can we start with what exactly the Film Commission is?

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<v Speaker 2>Where does it set in the production, commissioning, promotion side

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<v Speaker 2>of our local film industry.

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<v Speaker 1>The New Zealand Film Commission does all of those things

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<v Speaker 1>in relation to film. So we fund New Zealand film

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<v Speaker 1>on the cultural side of our mandate and we are

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<v Speaker 1>funded by the Lottery's Commission and the Ministry for Culture

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<v Speaker 1>inherited to fund film, promote it and participate in its production.

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<v Speaker 1>So that's wonderful. New Zealand films like Tina are which

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<v Speaker 1>is out at the moment. And then on the economic side,

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<v Speaker 1>we administer the New Zealand screen Production Rebate and we

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<v Speaker 1>attract production into New Zealand. And that's the likes of Minecraft,

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<v Speaker 1>which just came out this week, or Sweet Tooth or

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<v Speaker 1>the Brad Pitt movie that's shooting in the South Island soon.

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<v Speaker 1>So we do both the economic and the cultural.

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<v Speaker 2>So there are two big things to celebrate with local

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<v Speaker 2>movies at the moment. Hey, you mentioned Tina as being

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<v Speaker 2>a box office sensation.

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<v Speaker 1>Basically, when you walked in, I thought, here's someone that

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<v Speaker 1>can offer my kids something different.

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<v Speaker 3>The other schools say, we're to Ridget.

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<v Speaker 4>You're probably the first Polynesian woman we've ever had, though.

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<v Speaker 1>Congrats.

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<v Speaker 2>According to Flex, it has made four point two million

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<v Speaker 2>dollars since it came out in February. What do you

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<v Speaker 2>think has led to that success.

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<v Speaker 1>Tina is a beautiful story. It's an authentically told story.

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<v Speaker 1>It's really wonderfully acted. It's well written. It's just a

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<v Speaker 1>premium film and it has really resonated with a broad audience.

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<v Speaker 1>It is about a Sarmon mum who loses her daughter

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<v Speaker 1>in the christ Church earthquakes and burries herself in her work,

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<v Speaker 1>which is to be the mum of a school choir.

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<v Speaker 1>And it's a really beautiful emotional story. But it's also

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<v Speaker 1>a coral film, so the music in it is fantastic.

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<v Speaker 1>It's really hard to watch Tina without crying. I think

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<v Speaker 1>everybody who's seen it has had a cry but also

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<v Speaker 1>a laugh. And it's just a really fantastically warm New

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<v Speaker 1>Zealand film. So it's currently sitting at number six of

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<v Speaker 1>all time New Zealand films. So it's taken a four

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<v Speaker 1>point two million at the box office, which means two

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<v Speaker 1>hundred and seventy five thousand people have been to see

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<v Speaker 1>it so far in its first month, so I think

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<v Speaker 1>we're just into week five now. What that means is

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<v Speaker 1>that that has filled Eden Park more than five times

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<v Speaker 1>over with people who've gone to see Tina. Not even

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<v Speaker 1>Coldplay did that. So this is an incredible success and

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<v Speaker 1>it's the biggest New Zealand film since Hunt for the

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<v Speaker 1>Wilder People. Back in twenty sixteen. We're absolutely delighted with

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<v Speaker 1>the team who've put this together and we're asking them,

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<v Speaker 1>what are you doing next?

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<v Speaker 2>You mentioned Times for the World of People and Tina

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<v Speaker 2>is the highest grossing local movie since then. We seem

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<v Speaker 2>to have a box office hit every few years. But

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<v Speaker 2>it's a little irregular, isn't it. So why do you

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<v Speaker 2>think we are kind of reluctant to celebrate our own movies.

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<v Speaker 1>I don't think we are reluctant to celebrate them. I

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<v Speaker 1>think New Zealanders really do love New Zealand stories, and

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<v Speaker 1>you know, you can see it in ten r. The difference,

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<v Speaker 1>I think is that, you know, if we look back

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<v Speaker 1>over the history of New Zealand film, going to the

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<v Speaker 1>cinema to see it was everything back in the day,

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<v Speaker 1>So Hunt for the Wilder People was probably coming in

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<v Speaker 1>at the tail end of that kind of golden age

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<v Speaker 1>of cinema going ben COVID hit, and we've had a

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<v Speaker 1>complete change in behavior, not only as a result of

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<v Speaker 1>COVID but also the rise of the streamers. So there's

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<v Speaker 1>so many more ways in which to see films. So

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<v Speaker 1>the box office is just the beginning of the story.

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<v Speaker 1>And I really want to emphasize that it's while TENR

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<v Speaker 1>has been a fantastic hit, we haven't yet seen how

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<v Speaker 1>it's going to play around the world, how it will

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<v Speaker 1>sell into various platforms around the world, as all of

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<v Speaker 1>our films do. So we need to stop being so

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<v Speaker 1>focused on that first two, three, four weeks at the

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<v Speaker 1>box office and focus more on the long life cycle

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<v Speaker 1>of films, which means, you know, there might be a

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<v Speaker 1>film that is a quiet release locally, doesn't you know,

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<v Speaker 1>make a big noise at the box office, but sells

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<v Speaker 1>fantastically well around the world and is seen by an

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<v Speaker 1>awfully large number of people, and that's also a success.

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<v Speaker 1>So we need to look at how we judge the

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<v Speaker 1>success in a different way.

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<v Speaker 2>And of course the other thing we can celebrate is

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<v Speaker 2>that Minecraft is hitting cinemas after being filmed here last year.

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<v Speaker 3>Who are you I am, Steve.

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<v Speaker 5>Ok?

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<v Speaker 2>What does it mean for our local film economy that

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<v Speaker 2>these big blockbusters are still coming to shoot in New Zealand.

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<v Speaker 1>It's everything to our local industry. They are coming in

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<v Speaker 1>spend big money, so Minecraft will spend by the time

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<v Speaker 1>it's finished well over one hundred and fifty million dollars

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<v Speaker 1>in New Zealand's economy. So that is benefiting businesses accommodation

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<v Speaker 1>what calls all the crew who work on it. It's

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<v Speaker 1>fantastic for developing careers. So the experience that our crew

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<v Speaker 1>gain on a project like Minecraft is phenomenal and they

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<v Speaker 1>get a credit like that on their CV and they

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<v Speaker 1>go on to bigger and better things. Also, the work

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<v Speaker 1>for our post production industry, so Wetter Affects did a

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<v Speaker 1>lot of the visual effects for Minecraft. It's fantastic work

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<v Speaker 1>for them. And we're talking highly skilled, very well paid jobs.

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<v Speaker 1>These are jobs that set up our people for a

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<v Speaker 1>career in a creative, rewarding, fantastic industry that actually will

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<v Speaker 1>pay them quite well.

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<v Speaker 6>I understand that this is a risk averse industry. I

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<v Speaker 6>get it, But at two hundred million dollar movie are

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<v Speaker 6>also a risk, you know, and it doesn't always work out,

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<v Speaker 6>but you take the risk anyway, and instead of making

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<v Speaker 6>one two hundred million dollar movie, try making twenty ten

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<v Speaker 6>million dollar movies or fifty fifty right, fifty four million

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<v Speaker 6>dollar movies.

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<v Speaker 2>There have been global concerns around the rising cost of

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<v Speaker 2>film production. It's been a topic of conversation at CinemaCon

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<v Speaker 2>in Las Vegas just this week with President of Warner

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<v Speaker 2>Brothers Global Distribution Jeff Goldstein, raising concerns around production, marketing

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<v Speaker 2>and turning a profit. Are we seeing those same concerns

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<v Speaker 2>impact New Zealand.

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<v Speaker 1>I think rising costs are a concern across the board,

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<v Speaker 1>not just for the film industry. Inflation has affected every

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<v Speaker 1>facet of our economy, so film is no exception to that.

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<v Speaker 1>What we are doing here at the Film Commission about

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<v Speaker 1>that is we are taking a fewer and bigger mantra

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<v Speaker 1>to the way that wes. We're seeing a similar mindset

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<v Speaker 1>out of Hollywood two. So there has been a global

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<v Speaker 1>reduction in the number of new titles being commissioned, so

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<v Speaker 1>a bit more money being spent on fewer titles. What

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<v Speaker 1>that means is that we're able to focus on fewer

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<v Speaker 1>things doing them really, really well. What I see there

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<v Speaker 1>is a real uplift and quality. So rather than sprinkling money,

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<v Speaker 1>you know, a little bit across a lot of things,

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<v Speaker 1>consolidating into spending more money on fewer things.

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<v Speaker 2>Our our tax credits enough to entice studios to come

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<v Speaker 2>make their movies at the bottom of the world. I

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<v Speaker 2>know a lot of horror movies like ex Perl and

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<v Speaker 2>Meghan filmed here during COVID and Universal did return here

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<v Speaker 2>to film Megan two point oh as well, Hey, exactly.

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<v Speaker 1>Now, I just want to correct one thing. It's not

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<v Speaker 1>a tax credit. It's a common misconception. The rebate has

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<v Speaker 1>nothing to do with tax It's a cash rebate. So

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<v Speaker 1>if a production comes in and spends one hundred dollars,

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<v Speaker 1>they get a twenty dollars rebate on the spend that

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<v Speaker 1>qualifies in New Zealand. So it's a very efficient and

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<v Speaker 1>fast system. So we are world renowned for having an accurate,

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<v Speaker 1>fast and efficient rebate system and one that has integrity.

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<v Speaker 1>So that is a real selling point for New Zealand

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<v Speaker 1>and I'm very proud of my team that administers the rebate.

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<v Speaker 1>So the rebate, in terms of the amount that's offered,

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<v Speaker 1>the percentage sits around the middle of the pack. There's

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<v Speaker 1>about one hundred places around the world as places, because

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<v Speaker 1>they're not countries. Some countries have several, but there's one

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<v Speaker 1>hundred odd places around the world that offer rebates ours.

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<v Speaker 1>It's around about the middle and it's part of the

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<v Speaker 1>offering that we have for international production. We've also got

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<v Speaker 1>a very flexible labor market. We've got incredible creative crew.

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<v Speaker 1>We've got you know, Oscar winners up the Wazoo in

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<v Speaker 1>New Zealand that we should be incredibly proud of. So

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<v Speaker 1>they come here for premium production, really strong creative, a

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<v Speaker 1>favorable exchange rate. If you're coming this way from America,

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<v Speaker 1>of course, you get very good value on screen, and

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<v Speaker 1>the American companies that we deal with are very quick

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<v Speaker 1>to say that they get the best value for money

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<v Speaker 1>in New Zealand. We're not looking to attract everything to

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<v Speaker 1>New Zealand. We are a premium filmmaking destination. We are

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<v Speaker 1>very very good at it here in New Zealand. I

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<v Speaker 1>think I'd really love New Zealanders to understand that this

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<v Speaker 1>is something that we are incredibly good at and we

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<v Speaker 1>don't want everyone in the world coming here. We want

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<v Speaker 1>the best, so that's what we get with things like

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<v Speaker 1>a Minecraft movie, Sweet Tooth, East of Eden, fantastic series

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<v Speaker 1>that Netflix have been shooting here, Heart of the Beast,

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<v Speaker 1>which is Brad pittsfilm being shot around Queenstown quite soon.

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<v Speaker 1>So we're premium. We do it well.

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<v Speaker 2>What is the process of trying to get studios to

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<v Speaker 2>film in New Zealand. I can imagine that it just

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<v Speaker 2>takes years. I mean, do you know something that's going

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<v Speaker 2>to be filmed here saying five years time, Well.

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<v Speaker 1>We've had Avatar shooting here for a number of years

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<v Speaker 1>and a few more years to come. So Avatar three,

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<v Speaker 1>which I think is called Fire and Ash, will release

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<v Speaker 1>later this year. The Avatar has put about a billion

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<v Speaker 1>dollars into our economy. The wonderful thing about those longer

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<v Speaker 1>running titles is that somebody can come in in terms

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<v Speaker 1>of career development. They can come into the first one

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<v Speaker 1>or series one, whatever you want to call it, as

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<v Speaker 1>a runner or an intern and they can come out

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<v Speaker 1>at the other end of the fifth title in five, six,

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<v Speaker 1>seven years as a head of department. So they're fantastic

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<v Speaker 1>for career development. Wonderful four putting a spotlight on New

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<v Speaker 1>Zealand internationally. So to have a filmmaker of the caliber

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<v Speaker 1>of Jim Cameron now I think almost now a New

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<v Speaker 1>Zealand citizen. He's been very vocal about saying he loves

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<v Speaker 1>New Zealand, he wants to make all his movies here.

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<v Speaker 1>I mean, this is one of the biggest best filmmakers

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<v Speaker 1>of all time, who's chosen to live in Wellington and

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<v Speaker 1>make all his stuff there, So you know, we do

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<v Speaker 1>an incredibly good job. The attraction work starts years earlier,

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<v Speaker 1>and it starts with very strong relationships that my international

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<v Speaker 1>attraction team have built with the decision makers, mostly in

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<v Speaker 1>Los Angeles because that is where the bulk of this

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<v Speaker 1>work comes from. So we have a team who are

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<v Speaker 1>frequently in the LA market. Our head of international Attraction,

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<v Speaker 1>Philippo Mossman, is up there right now. She'll be there

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<v Speaker 1>for a good month or so. She's gathering intel constantly,

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<v Speaker 1>whether she's there or here, and figuring out who to

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<v Speaker 1>talk to, what are they doing next, where are they considering,

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<v Speaker 1>How can we help? And we have a very quick

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<v Speaker 1>responsive attraction team who will provide information to the decision makers,

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<v Speaker 1>whether they want locations, whether they want to look at

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<v Speaker 1>their budgeting, they need to talk to a local line producer,

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<v Speaker 1>what's the crew availability. We help with all of that.

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<v Speaker 5>The one thing I left New Zealand remembering is how

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<v Speaker 5>warm the people were, and how generous and kind and

0:13:16.840 --> 0:13:20.480
<v Speaker 5>welcoming they are. Just they just are very happy people,

0:13:20.559 --> 0:13:22.640
<v Speaker 5>and of course they're happy they live in New Zealand.

0:13:22.760 --> 0:13:26.439
<v Speaker 4>It's an interesting industry because it has a lot of

0:13:26.440 --> 0:13:29.480
<v Speaker 4>offshoots outside of the actual movie that you're making, and

0:13:29.520 --> 0:13:32.760
<v Speaker 4>it has a lot of benefits for the economy, for

0:13:32.880 --> 0:13:37.560
<v Speaker 4>local economies, and especially with something like these movies, they

0:13:37.880 --> 0:13:41.000
<v Speaker 4>generate tourism. You know, there's you know, I can't really

0:13:41.040 --> 0:13:44.680
<v Speaker 4>think of any other industry, in any industry that has

0:13:44.920 --> 0:13:47.600
<v Speaker 4>the reach and the depth.

0:13:49.520 --> 0:13:52.199
<v Speaker 2>I mean, you go overseas, you speak to anyone, they

0:13:52.200 --> 0:13:54.040
<v Speaker 2>find out you live in New Zealand and they ask

0:13:54.080 --> 0:13:58.000
<v Speaker 2>you about Hobbits in terms of the behemoth that the

0:13:58.040 --> 0:14:01.040
<v Speaker 2>Lord of the Rings franchise is to New Zealand and

0:14:01.080 --> 0:14:03.720
<v Speaker 2>how important it is to our tourism. Do you think

0:14:03.720 --> 0:14:06.840
<v Speaker 2>that we're ever going to see something like that replicated?

0:14:06.880 --> 0:14:07.160
<v Speaker 3>Again?

0:14:07.400 --> 0:14:11.160
<v Speaker 1>Absolutely so. Lord of the Rings has been an incredible

0:14:11.200 --> 0:14:14.600
<v Speaker 1>boom to New Zealand tourism and to New Zealand generally

0:14:14.640 --> 0:14:17.320
<v Speaker 1>in terms of putting us on the map. So we're

0:14:17.320 --> 0:14:19.680
<v Speaker 1>more than the all Blacks now and we have been

0:14:19.720 --> 0:14:22.200
<v Speaker 1>for a very long time, and we have to acknowledge

0:14:22.240 --> 0:14:25.720
<v Speaker 1>the incredible work of Sir Peter Jackson, Fran Walsh, Philippa

0:14:25.720 --> 0:14:29.560
<v Speaker 1>Boyans and others in creating that phenomenon. They're now busy

0:14:29.840 --> 0:14:33.040
<v Speaker 1>making the Hobbit. So the Hobbit film is the next

0:14:33.080 --> 0:14:36.320
<v Speaker 1>in that dynasty, and it will be out in the

0:14:36.360 --> 0:14:39.960
<v Speaker 1>next few years, and just see what an impact that

0:14:40.120 --> 0:14:43.920
<v Speaker 1>has on New Zealand tourism all over again. While you know,

0:14:44.200 --> 0:14:46.880
<v Speaker 1>it's been a while between drinks, though some of you

0:14:46.920 --> 0:14:49.760
<v Speaker 1>may have seen The War of Rahrem, which was the

0:14:49.840 --> 0:14:54.000
<v Speaker 1>really beautiful anime Hobbit story that came out late last year.

0:14:54.200 --> 0:14:57.760
<v Speaker 1>There will be another big boom around the Hobbit film,

0:14:58.040 --> 0:15:00.960
<v Speaker 1>but there also is around Minecraft. You know, the work

0:15:01.000 --> 0:15:04.600
<v Speaker 1>that was done to create a Minecraft game that has

0:15:04.680 --> 0:15:10.000
<v Speaker 1>specific New Zealand downloadable content. So these locations like White

0:15:10.080 --> 0:15:15.640
<v Speaker 1>or More Caves, the able Tasma, National Techapal, Doubtful Sound, Kapit,

0:15:15.760 --> 0:15:19.720
<v Speaker 1>the Island, those are all locations in a Minecraft game now,

0:15:20.280 --> 0:15:24.680
<v Speaker 1>so any Minecraft player can download those locations and play

0:15:24.840 --> 0:15:27.960
<v Speaker 1>in them. So the benefit to New Zealand tourrism of

0:15:28.000 --> 0:15:31.520
<v Speaker 1>that sort of creative content is really hard to put

0:15:31.520 --> 0:15:33.640
<v Speaker 1>a value on. It's just enormous.

0:15:33.760 --> 0:15:36.160
<v Speaker 2>I don't know if you've ever sat through a Marvel

0:15:36.240 --> 0:15:39.320
<v Speaker 2>movie to watch the post credits scene Annie, but it

0:15:39.560 --> 0:15:42.320
<v Speaker 2>can be a surprise sometimes to see the New Zealand

0:15:42.360 --> 0:15:45.560
<v Speaker 2>government logo show up there near the end, and it's

0:15:45.640 --> 0:15:48.240
<v Speaker 2>usually for things like post production or visual effects work

0:15:48.240 --> 0:15:50.920
<v Speaker 2>that's been done here. Is it right though, that we're

0:15:50.920 --> 0:15:55.440
<v Speaker 2>offering those rebates to these multinational studios to make their

0:15:55.520 --> 0:15:59.200
<v Speaker 2>movies here when they've got insane. New Zealand can't even

0:15:59.240 --> 0:16:01.480
<v Speaker 2>comprehend the money behind these studios, right.

0:16:01.840 --> 0:16:04.920
<v Speaker 1>So the thing with that, the rebate, which we call

0:16:04.960 --> 0:16:09.160
<v Speaker 1>it the PDV the post production and Digital visual effects rebate,

0:16:09.400 --> 0:16:12.640
<v Speaker 1>that's all about creating New Zealand jobs. So there are

0:16:12.800 --> 0:16:15.520
<v Speaker 1>jobs behind every one of those names that you see

0:16:15.600 --> 0:16:18.440
<v Speaker 1>up there in the New Zealand section of the credits.

0:16:18.680 --> 0:16:22.560
<v Speaker 1>And for every one hundred dollars that Disney or you know,

0:16:23.120 --> 0:16:26.480
<v Speaker 1>Universal or whoever spends in New Zealand, they get twenty

0:16:26.520 --> 0:16:29.880
<v Speaker 1>dollars back. We get eighty dollars spent in our economy

0:16:29.880 --> 0:16:32.960
<v Speaker 1>that we would not get otherwise. It's a really simple equation.

0:16:33.560 --> 0:16:36.880
<v Speaker 1>If that company doesn't get the rebate, they go elsewhere.

0:16:37.080 --> 0:16:39.200
<v Speaker 1>They go to Australia, they go to Canada, they go

0:16:39.240 --> 0:16:42.840
<v Speaker 1>to the UK and Europe. We must offer the rebate

0:16:43.280 --> 0:16:46.360
<v Speaker 1>in order for our economy to benefit from that eighty

0:16:46.400 --> 0:16:47.560
<v Speaker 1>percent of their spend.

0:16:47.760 --> 0:16:50.680
<v Speaker 3>Any are you optimistic for the future of New Zealand film.

0:16:50.840 --> 0:16:55.200
<v Speaker 1>Oh. Absolutely, We've got fantastic projects coming through. I mean,

0:16:55.320 --> 0:16:58.240
<v Speaker 1>just if we talk for a minute about the international side.

0:16:58.280 --> 0:17:01.840
<v Speaker 1>On the inbound production side, we've got Avatar, Fire and Ash.

0:17:01.880 --> 0:17:04.400
<v Speaker 1>We've got Meghan two, which you mentioned. The cool thing

0:17:04.440 --> 0:17:06.800
<v Speaker 1>about that is that it's directed by a New Zealander

0:17:06.920 --> 0:17:09.320
<v Speaker 1>did a fantastic job with the first one. He's going

0:17:09.359 --> 0:17:12.479
<v Speaker 1>again on Megan two. We've got Spartacus, House of Asher.

0:17:12.800 --> 0:17:15.280
<v Speaker 1>So those are some of the inbound productions that will

0:17:15.320 --> 0:17:17.679
<v Speaker 1>release this year. But on the cultural side, on the

0:17:17.680 --> 0:17:21.000
<v Speaker 1>New Zealand film side, we've got a couple that I'm

0:17:21.200 --> 0:17:24.680
<v Speaker 1>super proud of. So the Marlon Williams documentary, which will

0:17:24.680 --> 0:17:28.359
<v Speaker 1>release in time for Music Month at the beginning of May.

0:17:29.000 --> 0:17:33.679
<v Speaker 1>Really beautiful story, Marlon's story of recording his new album

0:17:33.800 --> 0:17:37.879
<v Speaker 1>interil Maldi, where he's really vulnerable about how he found

0:17:37.920 --> 0:17:41.120
<v Speaker 1>that his anxiety around being a second language learner. It's

0:17:41.160 --> 0:17:43.800
<v Speaker 1>a really lovely story. Then later in the year, we've

0:17:43.800 --> 0:17:47.960
<v Speaker 1>got Pike River, profoundly powerful story with Robin Malcolm and

0:17:47.960 --> 0:17:51.800
<v Speaker 1>Melanie Lynsky starring as two of the women who lost

0:17:51.840 --> 0:17:56.320
<v Speaker 1>their men in the Pike River. Mine tragedy. So, you know,

0:17:56.720 --> 0:17:59.919
<v Speaker 1>very diverse and interesting and powerful stories coming out of

0:18:00.000 --> 0:18:02.240
<v Speaker 1>New Zealand and I'm really super proud of them.

0:18:02.280 --> 0:18:03.880
<v Speaker 3>Thanks for joining us, Annie.

0:18:03.600 --> 0:18:05.000
<v Speaker 1>You're welcome. Thank you, Chelsea.

0:18:08.840 --> 0:18:11.960
<v Speaker 2>That's it for this episode of the Front Page. You

0:18:12.000 --> 0:18:15.800
<v Speaker 2>can read more about today's stories and extensive news coverage

0:18:15.840 --> 0:18:19.840
<v Speaker 2>at enzdhrald dot co dot nz. The Front Page is

0:18:19.880 --> 0:18:23.639
<v Speaker 2>produced by Ethan Sills and Richard Martin, who is also

0:18:23.800 --> 0:18:24.879
<v Speaker 2>our sound engineer.

0:18:25.359 --> 0:18:26.840
<v Speaker 3>I'm Chelsea Daniels.

0:18:27.440 --> 0:18:30.600
<v Speaker 2>Subscribe to the Front Page on iHeartRadio or wherever you

0:18:30.640 --> 0:18:34.520
<v Speaker 2>get your podcasts, and tune in on Monday for another

0:18:34.560 --> 0:18:36.200
<v Speaker 2>look behind the headlines.