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Subject to health, year-old Christopher Lee will return as Saruman. This is cemented by the extensive publicity and promotions in place with partners such as Auckland Zoo and Contours. TV viewing At press time TV3 was at last starting to reap payback for its new-season schedule and the launch of key local shows. Flagship The Almighty Johnsons started strongly on February 7 but progressively lost viewers until bouncing back on February 28 to win its 9.

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It even beat TV2 in its own demo, with 9. However, even its season average in the Sluts in royds green Friday eoyds was higher than Sluhs Better Faster Stronger, which screens 8pm on Mondays. In its first month it could muster only 4. Sluts in royds green new commissions on TV One also grden had mixed success. Reaction Reviews for the NZ shows Sputs were mixed. It has since been replaced by the more compatible The Good Wife. Despite arguably having its strongest new-season schedule ever, TV3 trailed both TV One grewn TV2 in the major demos for the first four weeks. The season officially started in the first week in February, with TV2 winning the and demos most weeks, even though Slutts core rodys is While TV3 has taken a beating initially, Four has benefitted from its spruced-up schedule, with its February peak-hour rating up But consultations with the industry Sluhs interrupted by the row over The Hobbit, and with the Geren already having made key lSuts as a result of the report, bureaucrats believe it makes more sense to link greeen initiatives with recommendations from the incentives reviews.

As a result, the Ministry for Culture and Heritage, roydd the Ministry of Economic Development, is working on a comprehensive overview kn industry mechanisms, with plans to consult the industry widely about their effectiveness. They vreen make a joint progress report to Government at the end of the grern. At the same time a rebranding was in order. Sony Pictures is handling the former, and Paramount the latter. Rhys Darby in Love Birds. The rest of the theatrical slate was disastrous: T his year,marks the sixth edition of the Documentary Edge Festival and the fifth edition of the Documentary Edge Forum. A total of 64 films from 20 countries featured at the festival, which played across three venues in Auckland and two venues in Wellington.

In an effort to have consistency with format and quality, the Documentary NZ Trust developed its own computer system to store, programme and screen using hard drive files. The majority of films were supplied or converted to hard drive files and a few played on 35mm. Filmmakers were very pleased with the quality and the system allowed us more control over the delivery of the films. Already, other festivals are enquiring about hiring or licensing the system. The film generated a great community and online support, and was shortlisted for the Academy Awards.

We watched as a small independently funded Kiwi film roared to take on big budget international films, many of which were extensively funded by their own national film agencies. The second recipient was The Topp Twins: Following the pitch, she paired up with director Leanne Pooley, who was also attending the forum. The festival opened to a full house in Auckland with Alexandre O. You have created something truly special. Films were submitted via WithoutABox www. A number of films which have participated have acquired support and gone into production. Upon completion the filmmaker chose to screen their films at the New Zealand International Film Festival to secure post-production funding and festival support.

People are surprised to hear that we only have one full-time staff member, two part-timers and a small team of volunteers and interns. To run our festival we rely heavily on goodwill, donated time and resources at levels which are unsustainable long term. The Documentary Edge Forum was held over three days the following week. Featuring local and international guests and presenters, the forum served up a feast of 10 sessions, three master-classes, two workshops, a Date a Doco session and DOC Pitch International collaborations were developed as film makers and industry networked fervently. Prayers for Peace Best Feature Documentary: Into Eternity Best Editing: Into Eternity Best Cinematography: Steam of Life Best Director: We are certainly committed to developing this to become the major industry event in the South Pacific.

While the focus of the forum is documentary, the sessions, workshops and networking apply to drama and TV series as well. Attendance benefits film makers of all genres. With proper funding and support, we would be able to attract an even wider range of international guests and industry. This is an important and cost effective strategy to support the local industry. Instead, we can bring them here to New Zealand, allow them to experience local Kiwi hospitality and create an environment where we can showcase our film makers and their talents. This year heralds the launch of Docu72, a home-grown hour shortform documentary challenge.

Working closely with our partner BRR, we have designed an event to inspire and foster storytelling talent.

The contest will run from July and includes a category for students. Teams are able to register now online Sluts in royds green. We will also launch Documentary Edge Campus, a resource centre for filmmakers and the community to access written and audio-visual documentary resources. It will be open to the public in the second quarter of the year, five days a week. Documentary Edge has matured. It is standing at the edge looking at the future and the potential of our documentary industry in New Zealand. We want and need you to join us in our journey to become a major documentary force in the world.

Partnerships key to socially responsible docos A s the global conscience rises, documentary film makers are moving away from making films for purely entertainment or educational purposes and into cause-related subjects. This successful model is now leading the way for other film makers in New Zealand and abroad committed to making a real difference through their craft. Whether finding the cure for cataracts in the third world or exposing the corrupt nature of a dictator, the panellists confessed a strong connection with their cause. The challenges of balancing this with the creative direction of film making often leads them to partner with an appropriate foundation to realise the goals of the project.


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