Articles, Blog

Making and Marketing New Zealand Movies


David: Hello everyone. It’s Live on Air again,
from 6senses e eLearning Centre, and I’m really privileged to have in the studio
tonight – I don’t know whether we can call it a studio. Sometimes I call it a classroom,
sometimes it’s a studio but it’s just a Google hangout really. I’m really privileged
to have both Stuart Macadam who’s the CEO of Cinemaddicts, and Matthew Mawkes who’s
a filmmaker from Wellington. Our big theme tonight is on discussing how we make and how
we market movies in New Zealand. So, without any further ado I’m going to hand over first
of all to Matthew. I’d be interested to know, Matthew; what does it take to make a movie?
Before we do that, maybe you just better introduce yourself and tell us a few things about your
background. Matthew: Hi everyone. I’m Matthew Mawkes.
I’ll first just start by saying I call myself very much an aspiring filmmaker. I’m not established.
I don’t do it fulltime – not able to – would like to. I think what it takes most of all
is perseverance actually. I think sticking in with this over what can be many years to
make one film let alone getting yourself established as a filmmaker. So I think perseverance might
be the key to it. I personally went to film school way back in 2000, and since then I’ve
made three short films, and I’m now working on my first feature film, which I co-wrote
– going to be producing. So we’re in fundraising mode at the moment.
We managed to squeeze some money out of the New Zealand Film Commission; just a little
bit which was fantastic, and enabled us to shoot a really good trailer, and so a good
five minutes of the film. So that was through their fund which is called Premiere Pathways.
It’s kind of a new thing they do. So we’re really excited about shooting this feature
film of mine next year – closer to the end of next year. So, what is that – films; two
in 2000, and now it’s 2015 and I’ll be doing my first feature in 2016. So there’s my take
on it anyway; perseverance might be the thing that divides filmmakers from people who sort
of find themselves doing some other kind of craft or business.
David: Right, got a few possibilities for asking some questions about that in a few
minutes, Matthew. Just turning over to Stuart; Stuart, you’ve introduced yourself on Live
on Air before, but there’ll be a new audience watching tonight, so just tell us a little
bit about yourself and Cinemaddicts. Stuart: Yeah, sure David. So, I’m Stuart.
I’m the founder and CEO of Cinemadddicts.co.nz. It’s a movies website, so we do movie reviews,
we do news on everything movie-related, we’ve got trailers, we’ve got competitions, and
we’ve got almost everything you could ask for movie-related. We launched on Queen’s
Birthday weekend last year, and so far it’s been a very successful ride. We’ve received
fantastic feedback from everybody that we’ve worked with, both on the filmmaking and I
guess filmmaker perspective. We’re looking to currently broaden our horizons a bit more.
We get about 1000 to 1500 visitors every week, and hoping to get that [passed 3:55] by 1000
by the end of next year. David: I should say that Stuart is a member
of the congregation at Trinity at Waiaki, and I’m under his wing learning how to market
on Facebook and Twitter and things like that. Just at present YouTube is sort of my speciality,
so I wouldn’t say I’m a step ahead of Stuart in the marketing of things on YouTube, but
maybe a fraction of a step ahead. So, really tonight I wanted to start talking about some
of the creativity that goes on in making movies, and also marketing. It seems to me that both
are essentially steps that have to be undertaken with a great deal of commitment. So let’s
just tease into the subject; Matthew where do you start with a movie? Is it a visual
thing, or is it a written thing? Just tell us what you make of the creative process.
Matthew: Well, I can tell you what it is for me; it’s maybe an idea or a character, and
it could just be quite small or it could be maybe a good ending to a movie, but it’s never
a full thing, so I sort of sit down and brainstorm and I co-write all of my scripts now. So I
have another person to bounce ideas off, and we found basically with my current project,
we just were sitting on my co-writer Mark’s balcony one day, and we were just thinking
of ideas, and I had a character and he had a character. They sort of met in the middle,
and then we developed the idea from there. It can be anything and everything actually.
Sometimes I watch a movie and I think, damn I wish I thought of that, or I might watch
some old classic film and I just see a little something and I think, yeah that’s really
cool. It sparks ideas in my head. So that’s sort of where I begin.
David: What about in terms of trying to market a movie, Stuart? Where does the marketing
thing start for you? Is it in terms of doing a written review? Once you’ve sat down and
watched the movie, how do you start to promote a movie?
Stuart: Well, I think it’s multi-faceted because it depends on whereabouts you are in the marketing
process. A lot of successful film companies wouldn’t be anywhere where they are today
if they didn’t have a lot of media contacts to come and have a look at the film, and give
their opinion on it. If you’re directly involved in the marketing of the film, I think one
of the best avenues you can start on, particularly if you’re an up and coming filmmaker, is to
go and have a look at films that have been successful like the Blair Witch Project.
One of the recent ones I saw was The Z-Nail Gang; they just used a bit of commonsense
and just tapped on a lot of contacts, knocked on a lot of doors, and as a result they got
a great response. So it depends where you are. To me, if you’re directly involved in
the marketing it begins the moment the script is finished, and filming is about to start.
If you’re reviewing it or giving a film publicity, as a third party then it sort of begins as
soon as the release date starts building up. Matthew: Yeah, you’re absolutely right. I
completely agree. In fact, I think sometimes there’s a value in doing a bit of market research
and actually shopping ideas around and seeing what actually is popular. I don’t think we
do that enough in New Zealand actually. Sometimes, the script is commissioned, so to speak, and
then it goes to the next stage. So lots of research is a very wise idea. I think The
Z-Nail Gang is a lovely film. I really admire those guys going out and doing that.
David: When you did your first one, Matthew did you say that was back 2006?
Matthew: My first short film I made; well I made a film – an awful pretentious, horrible
pile of crap when I was in film school, but I think every film school student does anyway.
My first proper short film was in 2001. So yeah that’s quite awhile now, and a great
experience just jumping in the deep end basically. However, I didn’t do any of that very important
first process; thinking about your audience more, thinking about how you’re going to market
it and how you’re going to get it out there. I just jumped in the deep end and made a film.
So I think there’s value in that as well. Probably most filmmakers wouldn’t show their
first short films to many people. Looking back I think it was pretty good, but the second
one was better, and you go from there. David: Do you see similarities between writing
a script and say an author writing a book, or are they different kinds of creative process?
Matthew: I think writing a screenplay is a lot harder than writing a book. I’m just going
to say that. I honest think you have to think very differently. You have to think about
your characters and you have to show them in action. So you reveal bits of information
about your characters by seeing them in action. I think that actually is a lot harder. I think
a novelist; you can you just go into the mind of your character and it’s a whole different
kettle of fish. So writing a screenplay; it’s tricky and then you’ve got things like dialogue,
and it’s really hard to write good realistic dialogue. So there are all sorts of elements
that make it I think really tough. I don’t think many people can do it, actually; certainly
a lot of novelists aren’t and shouldn’t. David: Yeah, a lot of novels sort of get written
by movie script-writers, don’t they; the people that are specialised have learned that particularly
creative art. Stuart, you’ve written a book on motivation recently. I can’t remember whether
you told me when it was published – been out for a little bit. At the same time you’re
involved in the whole gamete of marketing. So from your perspective, do you write your
books with the audience in mind, like Matthew alluded to?
Stuart: I think you have to, and I also like what Matthew says as well. He’s certainly
very right, because when you’re writing a screenplay, it’s not just I guess the characters;
you’ve got to think of cinematography, you’ve got to think of lighting, you’ve got to think
of music, you’ve got to incorporate all those things in, and you’ve also got a very limited
amount of time to effectively tell the story, whilst in books they can stretch on for quite
a reasonable amount of time, and often explain in great detail, whereas, in films you’ve
got to be into the action straight away. As far as writing it for the audience, yes
I think you have to. If the audience doesn’t understand a book, then it’s going to be very
difficult to get people to not only read it, but also appreciate it like you do; you’ve
put a lot of time into it, and I think the worst thing you can do it give a book which
is 99 per cent finished, and still got a few things that are uncertain. So I think if people
can read it and understand it, it’s the best thing ever. I think it was Ernest Hemmingway
that said, these are books are so easy to read because they were so hard to write. I
think that applies quite well to any sort of writing.
David: Any comments on that, from a filmmaker’s perspective?
Matthew: Oh, no I don’t really [12:47]. I’m in complete agreement. Stuart’s absolutely
right about editing. It’s really tough. If you’re writing anything – a screenplay, novel
– whatever it might happen to be; I think you have to be willing to take criticism and
that’s hard to do sometimes. I think certainly in terms of a movie script it is a blueprint
for the film, and you have to just go to the school of hard knocks and get used to being
criticised, hopefully constructively, so you can improve your work. That’s actually honestly
why I have found co-writing – screenplays often get co-written, actually but and novels
are very different. When you’ve got someone else in the room who’s constantly there to
say, no that’s not a good idea – it’s really rather helpful.
David: Does that also apply to – I’d use the word storyboard. You’ve got some content written
down and then you’re thinking about the visual images. Do you use that word storyboard at
all? Do you know what I’m sort of getting at that there? Somehow, to get from the written
to the visual is a really difficult step. Matthew: Yeah, it is. That’s the director’s
job of course, on movie. Storyboards, I find they’re very useful for the director- they’re
really good to help him or her plan out the film, but nobody else looks at storyboards
apart from a director. I always find you take these beautifully drawn things to the set,
and even the director of photography won’t even pay any attention to it. So that’s a
really good tool for the director and for his or her process. So you have to turn this
story into shots, and it’s very likely that if the director’s had a hand in co-writing,
they might very well have it running through their heads already. You do what’s called
a shooting script, and basically that’s breaking it down into shots. Every director does it
completely differently; some walk on set without knowing where the camera’s going to be placed.
Others will know exactly how many shots and how long they’re going to be, right down to
the finest detail. So it kind of varies I think.
David: Did the process get easier for you as you did more movies?
Matthew: Absolutely, yeah. You go in on your first day on a film and you don’t know anything
really. It’s by making the film that you learn. So, I think it’s really important for filmmakers
just to get out there and do this until you become more confident. Yeah, absolutely; there’s
a lot to be said for experience. The one thing I have learned is expect something to go disastrously
wrong each and every day, because something always does. As a producer now, I just wait
for it. I just sit back and just wait for the disasters to start rolling and then it’s
my job to sort that out, and I can tell you some interesting stories, but yeah there’s
always a lot to deal with on a film set. Hopefully at least for the director, they don’t notice
the dramas. If you can just get them to work with the actors, put the camera where it needs
to be, really create the movie, and have fun with it, and it’s up to people like me behind
the scenes to be dealing with all that other stuff.
David: Stuart, from your perspective, would it be helpful for someone who’s involved in
the marketing like Cinemaddicts, if you want to market New Zealand-made films, do you need
contact with people like Matthew so that you’re sort of aware of the project, not from the
start, but from the start of making the movie? Stuart: Yeah, it certainly helps I think,
if you know film-makers. I think if you do have a movie reviews website or your entertainment
editor at a newspaper or magazine, you’re naturally going to start meeting a lot of
people who work within the industry, and hearing about their journey from that start, although
even if you don’t like a film or you love the film, you really can appreciate the whole
process which goes into making the film, particularly with films that are made on very limited budgets.
I have one friend who’s film just got accepted into its first film festival, and it got rejected
about 25 times before he finally got accepted. So I think when you consider as well he put
seven years of his life into the project itself, when you hear that story I think that’s what
connects people with movies quite a lot, so that even if they don’t personally have an
interest in the film itself, or don’t enjoy watching it, they can come out saying, wow
– that’s seven years of hard work that this person’s put into a film.
David: That’s a fascinating observation. It seems to me, most of my creative energies
have been involved in producing theological content, but not necessarily just for a written
audience. It’s always seemed to me just as important. Theology is kind of like a performance.
Sometimes it can be a tantrum of a performance – sometimes it could be a much better performance.
In both your answers, what you’re alluding to – particarluly the guy that had the rejection
from numerous film festivals, and so on, seems to me that particularly in theology one is
constantly facing the world of rejection, and in quite a harsh way, because church has
always had these sort of normative rules; you have to subscribe to a particular set
of beliefs – you have to recite creeds and all of this kind of thing.
It’s really hard for someone with a genuine personal spiritual insight creativity to be
able to get that out there into Christian performance, if you like, without it going
through a kind of school of hard knocks. So, my perspective, and I think it certainly would
be the case with people like [Stuart Mannins 20:10] and George Armstrong and so on. We
produce content – not necessarily films or books but content that could be sometimes
a little bit of film – sometimes a little bit of book – sometimes a little bit of music,
and it has to make its way in the world. Now, both of you are – I wouldn’t say starting
out necessarily, but both of you have some years to go in terms of seeing how your ideas
play out in the longer span of time. So, Matthew you’ve been in it long enough to move from
let’s make a film, to this new kind of role, but do you still ever get the basic urge;
gee I’d really like to make a film again? Matthew: Yeah, of course. Working on a low
budget is great because there’s nothing to stop you really. My first feature’s going
to have a very low budget; it’s only $200,000. [21:20] saying that sounds huge, but as soon
as you start breaking down what you’re spending it on, all the money is gone and you’re just
working on the smell of an oily rag. It’s years and years of work, and Stuart’s absolutely
right; what’s worse is that you make the film, and some critic writes it off in one sentence.
So, you just have to get used to the school of hard knocks, because it’s kind of what
moviemaking is all about, I suppose. I just find for most filmmakers I know, all
they want to do is make another movie. So if the film does well – if a short film for
example, gets into a festival and you get a big boost of energy and enthusiasm for the
next project, and every filmmaker I know, they’re just living for the next movie. I
think that applies to really established directors and producers as well. I’ve just directed
Interstellar, but I can guarantee that Christopher Nolan’s actually probably thinking about the
next movie. It’s like, oh great I get to make another one. A flop is, of course, just around
the corner. David: Yeah, that’s very true; you never know
how the next project is going to turn out, even though you’re looking forward to it.
That’s exactly right. Matthew: Sorry, I don’t know if I answered
your question, David. David: No, but what you did answer was something
that – I remember once I put together what I thought was a fantastic sermon – one of
the best ever that I’d done. This is when I was living in wellington, Matthew. I was
invited down to preach at Wesley Wellington – a very pulpit that, I should add. I wrote
this sermon about a song by Procol Harum; Whiter Shade of Pale. It was based on a theme
of Johann Sebastian Bach, and I put together this fantastic sermon, and I got down and
preached the thing, and lo and behold there was a lady who worked in the nightclub that
was then across the road from Wesley Wellington, and my sermon happened to touch on ladies
of the night and that kind of thing – maybe not in a particularly positive way. All of
a sudden she got up and started calling up; that’s a lot of crap, David – or words to
that effect. The same is true; there’s a number of times that I’ve been preaching and people
have walked out in protest. It’s immediate. It’s a little bit like live comedy, isn’t
it; no-one laughs and you’re in real trouble. So I think there’s something about the creative
process that says, no matter how good you think you are, it’s not necessarily always
going to always hit the sweet spot in the way that you hope. It kind of leads into the
first question; I’m just going to select Barbara [Mollar’s 24:39] question. If folk are watching
and they want to ask a question – I see we’ve got a few viewers here – you need to toggle
around – there’s a little matrix of nine dots, and if you toggle that, it’s a toggle switch
– you can ask a question in that question pod. So, Barbara’s question is this – and
I’ll direct this at Matthew first of all; can you tell us, Matthew approximately how
many Christian groups in New Zealand are involved in making Christian movies?
Matthew: No, I can’t answer that question, I’m afraid is my answer. Unless you join David’s
church, it sounds like there’s some interesting things happening, there, but we were discussing
before we went on air about some of the evangelical churches, and I think that they are very interested
in media, and any kinds of endeavours that tell Christian stories through modern media.
They tend to have quite young congregations too, so I’m just making a guess; I do know
from people I’ve met that there are groups out there like Elim I think are very involved
in their own style of filmmaking, but I’m afraid I couldn’t give you a definitive answer
about that one. David: This raises a slight side issue for
me, Matthew; you make movies – have you ever considered making – I’m not sure what the
equivalent for a short one-off for TV would be, but do you see your medium as being movies
that are shown in a movie theatre, or do you also look at TV as a possibility?
Matthew: I would look at absolutely anything actually, David. I’ve got my own projects
that I do. Tonight I’m actually working on a short film for another director. I’m just
a production assistant. So any opportunity I get just to be on set, I thoroughly enjoy
and always want to help out. I guess there’s an element of networking as well, and when
you’re in a town like Wellington you often bump into many crew members you know and have
worked with before. So actually it’s quite fun, too. Yeah, so any opportunity that comes
along – maybe not advertising; I’m not into that but I think that is probably because
I’ve got a big project on the horizon for myself right now, but if someone was going
to offer me money I probably wouldn’t turn it down.
David: Matthew, you and I were also discussing before we came on air the fact that YouTube
itself has turned into something different, that now also offers another kind of alternative
in marketing your creative input. You use the example of our famous New Zealand singer
Lorde; would she have got anywhere without YouTube?
Matthew: Lorde? No, probably not, eh? It’s interesting. It can be a platform. I think
for filmmakers like me who are still working on very low budgets it’s essential – absolutely
essential, as is all forms of social media. Anyway you can connect to an audience without
spending money is a good thing. David: Stuart, you yourself are looking at
expanding out Cinemaddicts to include TV reviews. I think we touched on that last time. Would
you actually look at doing YouTube reviews? YouTube has become such big business. I was
saying before we began the broadcast that Oprah Winfrey has started a program on spiritual
experience looking at all the religions around the world; Christianity, Islam, Hindu et cetera.
That’s being marketed through YouTube. Have you got any comments about that, Stuart?
Stuart: Yeah, I suppose you can never really close the door on what you do and don’t review.
I mean, cinema can be quite a wide thing if you take it into a broader context. I think
as well, yeah YouTube videos is becoming a very big phenomenon. In fact, I can even remember
typing in the other day, keeping up with – because my friend’s a big fan of Keeping up with the
Kardashians for some ghastly reason. I saw this spin-off Keeping up with the Kardashians.
I don’t know if it’s called Keeping up with the Joneses or whatever it was, but it’s this
genuine spin-off, and it had hundreds and thousands of views. So, I think when it comes
to getting out there, you never close the door on it, because I actually see a lot of
future movies – feature length films as well, being funded by groups such as Netflix, YouTube
and a lot of other streaming sites which have access, and full rights to films.
David: Okay, we’re moving through, and I’d like to ask both of you a quite specific set
of questions now. I’ll just bring up my screen-share just so people can see. The question really
is; are there any lessons that the church could learn from the creative processes of
making and marketing movies? In other words; what could be directly applied from the creative
processes that you guys are involved with, into personal spirituality or anything to
do with church? It does seem to me that, whether it’s marketing movies or making movies, or
however we move, there are some incredibly creative processes that go on. What would
you say to the Christian churches about doing something about using creative process?
Stuart: I can probably speak to the making movies side of it. I think what I try to do
David is always have a crew of people who are very positive, for one. I think it’s really
important to surround yourself with positive energy when you are in a very stressful kind
of scenario, which certainly being on a film set is – a very positive environment. There’s
a great deal of conflict management you have to do as well. There’s also a real strong
element of taking care of each other. I often find myself looking out for people who are
desperately in need of water or coffee or something like that – just little things.
Your cast especially; they’re very vulnerable. As soon as the director calls cut, they’ve
got nobody except him or her, and they sort of just look at them and wait for approval.
So I think you have to look after each other on a film set. I think there’s a big element
of that, and I think in the business side of movies, there’s a lot of [32:20] just there
and it’s all about making money and it’s all about bums on seats. So there’s also a bit
of negativity floating around I think. To get through all that you have to have a certain
attitude that is pretty positive and a very optimistic outlook helps too, I think. So
I think that’s my little take on it, anyway. Matthew: Yes, I guess with my side, like the
marketing element, I think a big thing is just general outreach. I think that’s something
where the church has, particularly in recent time, fallen behind, rather than being proactive.
It’s had to become very reactive in light of a lot of the negative criticism, which
has been geared towards it. I think not addressing and confronting those problems has landed
it in a very negative light – not just in New Zealand but in many places of the world
which were once Christian. So I think yeah, putting a positive message on it is always
the most important thing, because sometimes the most successful films don’t make a lot
of money, and sometimes it’s the other way round, whereas a really bad film will make
a lot of money. So I think you have to be able to combine
the two together quite nicely, particularly with a Christian message. I’m of the opinion
that it’s got the best possible way of life, and it’s been shown through the centuries.
All the countries which adopted Christianity have benefit enormously from its freedoms.
So yeah, I think touching on that would certainly be an important thing, and just showing people
that you’re putting your money where your mouth is, because a lot of the time Christians
– and I’m certain [34:20] can be quite hypercritical, and I think that’s something which should
be addressed and worked on. David: Well, that’s a really interesting perspective
on the marketing side there. I’d like to comment on that. Just before I do, Stuart Mannins
has asked a question but I think the only thing that’s come through is one letter in
the question. So Stuart you might need to go back and re-type that question. I’d like
to come back to something that Stuart Macadam said – get my Stuart’s right; Stuart Macadam
said that it is important to be positive about the Christian message, and that seemed to
echo what Matthew was saying about the need to surround oneself with positive people when
you’re making a movie, because of the stressful nature of being on the set, and production
costs and time and a whole lot of potentially short fuses in there.
Just listening to you two guys, I really wonder whether what we’ve got emerging in the church
is something that is – can I put it this way; under-rehearsed – not well written enough
– if you’re going to make a movie your actors – they certainly need to be spontaneous and
fresh, but they also need to be extremely well-rehearsed. That’s true also I think with
what Stuart Macadam was saying in terms of his book about marketing for a positive attitude
for positive engagement; people have to be motivated to want to do something well for
the spiritual journey. You’ve got to be motivated to make a movie. You’ve got to be motivated
to write a book. You’ve got to be motivated to act out a sermon. I think what we are perhaps
a little bit lacking in Christianity is helping congregations and helping people that are
on the fringes to realise that they have a performance part as well to play.
So when I go off to see a movie – I’ll get you as one of the final things we do Stuart,
to talk about the movie Everest, but when I went off to see – I think it was called
The North Face of the Eiger – it came out a couple of years ago, and my wife and I saw
it down in Oamaru in a tiny little theatre, and my goodness; we were sitting on the edge
of our – we were participating in every last move of the pick axe, et cetera. There was
something, and it’s so hard to get that same feeling when you’re sitting in a pew in a
church, yeah? You go into the movies with an air of expectation. I’m just going to flick
up Stuart’s question. If you guys could listen to the question and then if each of you responds;
Stuart says he’s interested in the implication of responding to informed criticism. Now,
he’s given a whole lot of other stuff in there as well, but to what extent are some artists
lone workers, and on the other hand co-workers? So, yeah informed criticism; I think that
was your comment, Matthew. Matthew: Yeah.
David: Do you see yourself as a lone worker or co-worker or a bit of both?
Matthew: Co-worker, very much so. Yeah, and I probably didn’t always use to think like
that. I used to write alone, and to be honest it’s only when I started co-writing that I
felt that I became better. Yeah, so that was my experience; there are some great writer-directors
out there, but I think New Zealand could probably do with a bit more of this tradition which
is a little bit – well, I suppose holy water actually, but I think there’s a reason that
movie scripts are often co-written; there’s something about the script that two minds
or even three are probably just better than one sometimes.
Making a film is all about co-working of course. So, that’s certainly been my experience. Informed
criticism I think is so important. You’ve just got to get your script read by experienced
people. We’ve been very lucky to have our current script read by some really – actually
we’ve had a few pretty well known filmmakers have been giving us some fantastic feedback.
So I think it’s important just to be open to that.
Stuart: Yeah, I guess from my side, I find that of course with the work that I do, particularly
in marketing, it’s always – I work with filmmakers to promote their work, so every single time
I get an idea I like to bounce it off them. Sometimes if it’s a really big decision and
has quite a big budget, I’ll say, okay let’s have a look at this idea, and discuss the
pros and cons about it. Sometimes if I’m given a creative freedom I’ll just go and do the
idea anyway, and let them know afterwards. As far as – I guess with Cinemaddicts going,
yeah a lot of the work I do in promoting that is sort of like the lone wolf – not done out
of choice, but more because I find it’s a more effective way of getting things done
than constantly talking with the other co-owners that I have in the website as well. They normally
just leave that stuff to me, which I’m quite content with.
David: That’s a really interesting point that both of you have made; at times we do have
to be working in a community – co-working, and at times we do have to take some individual
actions for ourselves. I’m very much inclined to what you are both saying about the need
for feeling that you belong to a wider group. This came out quite strongly in Matthew Mawke’s
understanding of the filmmaking community in Wellington. So you’re getting lots of input,
but you’re also doing lots of different jobs in it. That’s absolutely true of Stuart Macadam
as well. He’s doing lots of different things – not just running his website, but writing
books, et cetera. So, I really think that if we were looking
for an answer to Stuart’s question, it comes from there Stuart, that essentially all of
those things – informed criticism, being a lone artist, working with people in community
– all of us are doing that all the time, striving to get something out there that will entertain
people, that will make people laugh, cry, feel for our projects, be they related to
the church, be they related to the secular community. So I think it’s a great question,
Stuart. I’m very grateful for the two answers from Matthew and Stuart Macadam.
I see we’ve reached the time of 7:42. That’s only about a minute and a half away from when
we’d normally bring this to a close. So just a brief word from each of you; have you enjoyed
the experience of being live on air tonight? Is this something that you could see yourself
doing again in three months time – not necessarily together but with other panellists as we look
at a whole range of things coming up? So, you can give honest feedback and say, nah
thumbs down David – that’s okay by me, too. I’ve thoroughly enjoyed it. I get a real buzz
out of working with Stuart Macadam. How about you, Matthew?
Matthew: Oh, it’s been awesome, David. I’d be very happy to do it again. Stuart, great
work – awesome to see it. I completely agree with the lone wolf thing, too; sometimes you
just have to do things by yourself and not wait to be turned down by somebody else. So,
green-light yourself, so to be speak; I’m totally on board with that as well. It’s been
a really enjoyable process. It’s fun. Stuart: Yeah, I always enjoy these conversations.
They definitely bring out your ability to communicate what you know about filmmaking
and film marketing in this [43:54]. So yeah, definitely and it’s always good to see another
New Zealand filmmaker, Matthew and I cannot not wait to go and see your film at the cinema.
If need be I’ll fly down to Wellington to see it myself.
Matthew: Oh don’t worry; when we finally make this thing, believe me – I will be plugging
it to within an inch of its life, and annoying everyone I possibly can, including you.
David: What we’ll do, we’ll create a special… Stuart: [44:23] the better.
Matthew: Awesome. David: Yeah, absolutely. When it’s done, Matthew
you can have a whole hour for Live On Air. Matthew: [44:34].
David: Thank you very much, guys. We’ll leave the call at this point. Thanks for watching,
everyone else. Stuart: Thanks guys.
Matthew: Thanks very much. Making and Marketing New Zealand Movies

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