Tuesday, 17 July 2018

NZIFF 2018 Preview - It all starts this week

NZIFF 2018 Preview - It all starts this week


With just days before the 2018 New Zealand International Film Festival kicks off in Auckland at the mighty Civic Theatre before heading around the country, it's time to take a look at some of the offerings.

The 50th anniversary of the festival has brought all manner of treats, and plenty of fresh offerings from around the world.
The Guilty

Taut, terrific and twisty, The Guilty's captive setting and lead man make director Gustav Möller's claustrophobic call centre flick one of the most compelling dramas of the festival. 

Jakob Cedergren's policeman Asger Holm is a call centre worker, at the emergency services. A series of calls come in - each more mundane than the next in his eyes, but each vital to those dialling for the help. Then a call comes in that sets his senses off - an apparent kidnapping.

Clever, compelling, and character-led, The Guilty is a festival must-see - a stripped back, pared down character piece that's almost Shakespearean in its tragedy. See it now, preferably Hollywood miscasts its lead in its remake.
Maui's Hook

Director Paora Joseph's Maui's Hook clearly has an agenda - and in the current world we live in in New Zealand, that's no bad thing at all.

The psychologist's piece mixes both a drama and a documentary to get the discussion on suicide in our youth up and running. And while the drama is reasonably well acted and in parts, strong, it has nowhere near the power of the heart-wrenching true life stories.


Four Maori families and one Pakeha family join a hikoi around parts of the north of country, visiting marae to discuss the impact and the reality of suicide on families. To be frank, it doesn't really matter what race these families are, these are stories which have a human universality that's relatable throughout.

It's clear that for Maori, this is a real issue, an underlying cancer that's ripping through society and which goes unspoken even though its effects are utterly devastating and the ramifications live on for decades. Whether it's the simplicity of having 10 family members sat on mats discussing the effect the death of their mother had on them, or a final set of sequences atop a cliff at Cape Reinga, laying photos and reflecting, there's a power here unable to be denied.
Bludgeon

Carrying on the trend ploughed by Florian Habicht et al, Ryan Heron and Andy Deere's Bludgeon is a small treasure on the NZIFF programme, a doco that has elements of the Office and the heart of an against-the-odds competition.

It follows a group of modern knights looking to represent NZ in the sport of 'medieval combat', something one competitor intones should be an Olympic sport.


Packed with humour and heart, with a genial outlook and large swathes of humanity, Bludgeon is yet another celebration of what truly makes New Zealand tick, and another demonstration that all walks of life deserve celebration, even when their unswerving devotion to their cause bemuses and amuses.
The Ice King

A doco that's as much about showing the balletics of ice skating as it is interested in delving into its protagonist's torture, James Erskine's The Ice King celebrates John Curry.

To be frank, he's possibly a name that's less familiar to some, but Erskine's fulsome piece could ensure that changes - and Curry becomes known more about his ice-capades than being thrust into the spotlight after securing a gold medal at the 70s Olympics and coming out "off the record."

Using voiceover interviews, rather than endless talking heads, and with letters from Curry himself helping to sell and tell the story, The Ice King is not really your traditional documentary and also not really your traditional sports story.

It's a muted piece, that enlightens and enthralls occasionally, but never fully grips when the spotlight shifts from what Curry could do on the ice - at the end, he still remains an enigma to the audience. But it's interlaced with some splendid footage of Curry's moves on the ice, which are just incredible to behold.

If you ever wanted a reason to delete your social accounts and reassess your life, documentary The Cleaners is that film.
The Cleaners

Distinctly terrifying and definitely a sign of our depressing online times, The Cleaners turns its eye on those who police Facebook and other social channels by following five content moderators who reside in the Philippines and whose job it is to moderate what is out there.

Bleak in many ways, psychologically depressing for anyone who uses social media or deals with communities, The Cleaners maybe goes a little too skin deep on the implications for free speech and lets off the moderators who strongly believe "Algorithms can't do what we do."

A sobering story of electronics and social media over-taking the world we inhabit and the morals we should hold dear, The Cleaners is perhaps one of the most terrifying portraits of 21st Century online life.

The New Zealand International Film Festival kicks off in Auckland on Thursday July 19th before heading around the country. More details at nziff.co.nz

Stay tuned to this website during the Auckland leg of the festival for reviews from the films and also director Q&As.

NZIFF Q&A - Paora Joseph, Maui's Hook

NZIFF Q&A - Paora Joseph, Maui's Hook


Director Paora Joseph – Maui’s Hook

My film is.... Māui’s Hook is an experience. It is a real slice of humanity, ordinary people who are extraordinarily brave, willing to share their vulnerability in order to help save lives.

The moment I'm most proud of is...
NZIFF Q&A - Paora Joseph, Maui's Hook
When we showed the film for the first time to the NZFC and stakeholders and there was absolute silence following the screening. The CEO was in tears and that’s when we realised that we had a film worthy of sharing with the world.

The reason I carried on with this film when it got tough is.....
The belief in my Tupuna and the fact that the whānau involved were prepared to share their vulnerability with the world in order to save lives.

The one moment that will resonate with an audience is.......
When the character playing Tama discovers his mortality

The hardest thing I had to cut from this film is........
We had to cut the reported methods of suicide from the film in order to ensure that it did not have a negative effect for some viewers. This was part of the honest kōrero shared by whānau members.

The thing I want people to take from this film is ......
We do not need to hurry death, and that through genuine sharing we can find a way through turbulent times.

The reason I love the NZIFF is.......
It provides a platform in which heartfelt stories about humanity can be shared with the world.

What the 50th NZIFF means to me is...... It is a hallmark, we should be all proud as New Zealanders to have this taonga.

Talking the NZIFF's Incredibly Strange 2018 with Ant Timpson

Talking the NZIFF's Incredibly Strange 2018 with Ant Timpson


The world of the Incredibly Strange returns to the 2018 New Zealand International Film Festival - and with it, a chance to settle some scores with director curator Ant Timpson.

So, let's get into it.

We have a combative approach to these Q&As Ant - are you feeling more mellow in 2018 as we roll this dice again?
I am as mellow as the recommended dosage on the box allows me to be.

So, The Field Guide To Evil has a "Ant Timpson" credit - any relation, and how is this film worthy of inclusion?
Field Guide To Evil

The Strange side-bar this year has been "NEPOTASTIC" by myself this year to ward off any accusations that I use the festival as my own vehicle to screen films I have made or am associated to
the filmmakers in some form.  THE FIELD GUIDE TO EVIL is a global anthology film about dark folklore from each country. We hand selected some phenomenal filmmakers that we felt were perfect for the project. It's very much in the arthouse horror vein - and a long way away from the anarchy of the other series I did -THE ABCS OF DEATH. 

Climax seems like Gaspar Noe's reputation continues - why should this escape the censor?Well the only hubbub at Cannes about Noe's new film CLIMAX was really about how brilliant it was and a real return to form for the provocateur behind IRREVERSIBLE and ENTER THE VOID.

Climax

Anyone who saw those at the CIVIC can remember them being experiences first and foremost and that's what you get with Noe on form. The censor or classification office are probably too busy
watching CAPTURED BY EWOKS 11 to worry about CLIMAX.  
It is the only film I have programmed sight and unseen - that is how confident I am in the filmmaker delivering.

I'll hold my hands up and say Mega Time Squad is the best thing I've seen at the NZIFF this year - sell it to those who don't care about my opinion (not many people in that bracket, I can tell you,)
Well anyone who just gets off their arse and goes and makes an entire feature in NZ without waiting for a handout deserves some applause first and foremost. And its even worth celebrating more when the actual film is good.
I've known Tim Van Dammen for awhile and at one stage he was bouncing some wild ideas for a low budget feature that maybe we could make together - it didn't happen but he did get to Thames for a bit and managed to work and knock out a feature there. And it's very much all TVD - he's a natural visual filmmaker - he has a good ear for the vernacular and he manages to pull in solid folks to help out. The film is a deliriously low-fi loopy crime comedy with the added attraction of featuring some time-loop hijinks - which I think audiences love seeing played with in films. 

This is going to win over local audiences very easily but I also see its small time parochial charms
playing offshore just as well. It's a love letter to small town NZ in many ways... it's mad and anarchic and silly and everything you want from a filmmaker throwing everything they had at it - everything except a shitload of money which probably would have resulted in a film with better FX but a lot emptier in spirit.
Mega Time Squad


Liquid Sky - nice to have something from the past in there?Well this was a seminal film for our fest director Bill - it was the film that kind of caused a shift in the structure of the festival. That would be enough on its own for inclusion. It was also a film that cinephile cult heads like myself were drawn to around that period. I saw the film on a late show as it played many times after its premiere. It's hard to describe how other-worldly it seemed at the time. The incredible thing is that it still does feel a bit like that - it's dated, but it's also dated so much that it now feels timely.

Psycho and Psychotropic, Mandy seems to have real appeal for the Hollywood Theatre crowd - why should we see Nic in his tighty whities?

Mandy for some will be one of those films experiences that you will remember exactly when and  how you saw it for a long time. Especially if you take any edibles before arriving. Actually don't do that - the Hollywood staff don't want to deal with morons leaping off the balcony screaming CAGE IS CHRIST!


I don't have to hard sell this demonic ride into instant cult stardom - those who know about it have booked already and those who miss out - were never supposed to see it in the first place.

An Evening with Beverly Luff Linn seems destined for cult appeal - and a certain Conchord's there too - why's it the best?

This is the follow-up film from the wonderful Jim Hosking who I made The Greasy Strangler with.  His sophomore film is nothing like Greasy and yet it still could easily inhabit an area of the same universe. It may also play divisively like his first which is a shame but just the nature of someone
uninterested in making films to appeal to mass audiences - he makes things that he thinks are funny. Unlike his debut film, this is chockfull of memorable faces and yes there's Jemaine Clement stealing the film from Aubrey Plaza, Craig Robinson and Emilie Hirsch.  It's a peculiar love story much like Greasy was as well but I think more accessible - the comedy not as grotesque and there are a few surprising touching moments to boot. 

Blue My Mind, Let the Corpses Tan - are these pieces of prestige premier Incredibly Strange?
You do realise all your questions could be pretty much crunched into one question - tell me about this year's lineup - yet you insist on dragging this thing out so much longer than necessary. 

It's just lazy - you don't even try to ask anything more indepth than tell me about 'X' film - I should just put wiki links next to each question. Actually I am going to do that but use RT which is basically if Satan operated a review aggregation site it would be Rotten Tomatoes. 
That's giving it as much effort as you have so far. I really tried to be positive with my responses to you but fuck me man - how do you even call yourself a film writer in any capacity?  
The only way this interview could be lazier is if you got the fest PR team to write your inane
questions and email it through.. oh wait - you DID DO THAT.??
What Keeps you Alive
I am so busy overseas - I've had to leave the NZFF for work this year and it's painful but nowhere near as painful as having to respond to this garbage interview.
I am looking at the hotel window right now and seriously thinking.....thinking about THROWING YOU OUT OF IT..

BLUE MY MIND - 100% 
https://www.rottentomatoes.com/m/blue_my_mind/
LET THE CORPSES TAN - 95%
https://www.rottentomatoes.com/m/let_the_corpses_tan

My old friends Bruno and Helene who made LET THE CORPSES TAN - they are truly special people. Incredibly talented filmmakers who will be in NZ to do Q&As...  Darren if you want to live - make sure everyone know about their visit and their film.  Or else.

Piercing, Terrified, What Keeps You alive - I've got a gun to your head, tell me which of these you choose as your death row film and why?
Remember I have tossed you out of the 22nd floor of this hotel we're in so the gun is hitting the ground just as your brains splatter and slither across to the curb below.

PIERCING - 83%
https://www.rottentomatoes.com/m/piercing
WHAT KEEPS YOU ALIVE - 86%
https://www.rottentomatoes.com/m/what_keeps_you_alive

TERRIFIED - no one knows about this film. Just go see it. It's something quite special in a demented way. 

What's been your favourite question this year in the Q&A - and the one you wish I'd asked?

10) Would you be happy if I was thrown out of the 22nd floor of a hotel?
A. YES.

Generally, how has the IS genre been for choices this year?Generally brilliantly curated on all accounts.

You're in Canada now, I believe, any chance you could pick me up some duty free?
Let me guess.  A giant Toblerone right ?


You can get even more information on the Incredibly Strange section at nziff.co.nz.

Thanks, Ant Timpson for your time from abroad; very much appreciated - and the police will be in touch about your violent tendencies toward me.


Monday, 16 July 2018

NZIFF Q&A - Costa Botes

NZIFF Q&A - Costa Botes


My film is...
Angie. It’s the story of a woman who is trying to understand and heal from past traumas. The film is really about the consequences of love denied, thwarted, betrayed, or exploited; and the power of love to restore even the most broken of souls.

The moment I'm most proud of is....
Every moment when my camera was in the right place and turned on. One such moment comes very early on. A dove, trapped in a room, beats against a window trying to get out. A perfect metaphor for my subject. Any moment captured as it’s happening, without any warning or preparation, always feels special.
Angie: NZIFF

The reason I carried on with this film when it got tough is.....
I felt like there was something to say that was important and interesting.

The one moment that will resonate with an audience is.......
I think there will be several such moments, but I wouldn’t presume to tell anyone what they might be. We all bring our own emotional and intellectual baggage into the cinema. A film is only completed when it meets an audience, and every person will see a different film.

The hardest thing I had to cut from this film is........
Nothing. I’m pretty ruthless. Anything that’s not in the film was left out for a good reason.

The thing I want people to take from this film is ......
A sense of hope. And empathy for others.

The reason I love the NZIFF is.......
I’ve been to a lot of film festivals round the world. For lovers of film, ours is right up there amongst the very best. They’re also respectful and supportive of film-makers.

What the 50th NZIFF means to me is......
Five years making Angie weren’t wasted. I’m looking forward to sharing it.

NZIFF Q&A - Jack Nicol, She Shears

NZIFF Q&A - Jack Nicol, She Shears


My film is....
A film about female sheep shearers: In the gruelling world of competitive sheep shearing there is no women’s section. Women and men compete together. She Shears is the story of passion, purpose and determination and five women for whom shearing is not just a job.

The moment I'm most proud of is....
The crescendo of the film – it’s a real emotional roller coaster, with moments of sacrifice and loss, but balanced with triumph and celebration. I don’t want to ruin it for you, but you’re guaranteed to walk out with a smile on your face. It’s a crowd pleasing, life affirming film.

The reason I carried on with this film when it got tough is.....
I was surrounded by women who can shear over 500 sheep in a day – making a movie is a piece of cake compared to that! There were times when we were filming them and we’d stop for a break, and they’d keep working. It’s hard not be tenacious when you’re surround by inspiring, hard working people.
NZIFF Q&A - Jack Nicol, She Shears

The one moment that will resonate with an audience is.......
There’s a beautiful little scene where Cath (one of the subjects in our movie) hand feeds some lambs whose mother has mastitis. It’s really heart warming and refreshing to show that rural people have a real affinity with their animals, and are animal lovers.

The hardest thing I had to cut from this film is........
There were so many great scenes! It’s tough cutting a film, you get so attached to things. There’s so many interesting, intelligent and articulate people in the shearing world, it’s so hard honing the film down just to the key characters.

The thing I want people to take from this film is ......
Be who you are. Do what you love. It’s a positive film that a kid could watch and feel good about, but it’s also a film you can take your Gran to. I hope people walk out enthusiastic and encouraged to pursue their dreams.

The reason I love the NZIFF is.......
It’s a festival that’s put together with love – the programmers genuinely love cinema, and you know if you’re seeing a film at the NZIFF it’s worth it. 

What the 50th NZIFF means to me is......

To be included in the line up this year is a huge honour and privilege. The NZIFF has shown so many great kiwi films and has been instrumental in developing so much of our local talent. It’s fantastic to be part of that legacy. Like I said before, the NZIFF programmers are top notch: all the films they choose are always worth the price of admission. So for She Shears to be chosen by them is really satisfying and humbling.

Sunday, 15 July 2018

NZIFF Q&A - Rebecca Tansley

NZIFF Q&A - Rebecca Tansley


My film is… 
The story of a ballet inspired by the 1993 film The Piano, but it’s not just a dance film! A lot happened.

The moment I'm most proud of is…
When the film screens and audiences enjoy it, take something from it and talk about it.
The Heart Dances
The Heart Dances

The reason I carried on with this film when it got tough is… 
The same reason people do anything that’s hard – they are driven to do it. Some people climb mountains, some people paint. I get an idea to make a film and I have to see it through, even when you’re in the middle of wondering why you thought it was a good idea, you don’t stop. That’s how it is.

The one moment that will resonate with an audience is… 
Well hopefully there are more moments than one – but I think that the human relationships depicted in the ballet  (which of course originate in Jane Campion’s story) are very real, and very relatable. I defy anyone not to look at it and recognise moments from their own lives.

The hardest thing I had to cut from this film is........
One and a half minutes of a pas de deux set to a Shostakovich concerto. The music and the dancing are both so intensely beautiful but unfortunately film duration matters. Maybe it’ll make the dvd!

The thing I want people to take from this film is ...... 
That making art is hard, that art is worth having and celebrating, but should also challenge us and make us think and talk about stuff.

The reason I love the NZIFF is....... 
Affirmation, because my film screens alongside great and wonderful and vibrant films from all over the world. It means I’m one of that community of storytellers.

What the 50th NZIFF means to me is......
A celebration of the institution that for 50 years has brought us diverse stories and other ways of seeing the world. Here’s to the next 50 years!

Blockers: DVD Review

Blockers: DVD Review


The sex comedy cum coming of age is a well-mined story trope.
Blockers: Film Review

Guaranteed easy laughs, combined with some gross-out gags, mean simple box office returns and plenty of brain-on-cruise-control viewing.

So it is with Blockers, a film that promised little, but manages to deliver more than expected, despite a depressingly obvious slide into sentiment on the final run.

Cena, Mann and Barinholtz play a triumvirate of parents, with varying degrees of issues of control.

Thrust together when their three daughters start school and bond, the group's now at the cusp of dealing with womanhood from their siblings.

On Prom Night, all three of the girls (Viswanathan, Newton, Adlon, all solid and fully formed) decide they plan to lose their virginities to their respective partners. Forming an apparently secret pact, they set about their plans.

But when the parents find out, they decide to set out and stop it from happening...

Blockers: Film Review

The thing with Blockers is that its mix of being a take on uptight parents letting go, kids growing up and moments of gross oddly brings the funny when it should without ever really going too far.

As the aforementioned slide into sentimental growing and hugging mush descends (something Seinfeld always railed against), Blockers depresses a little in that it doesn't quite buck the trend in the way it initially sets out to do so.

Whether it's really a female take on the situation given it's written by five guys is debatable.

But what it does do throughout is it gives the female youngsters equal pegging and they feel real rather than sexual constructs and conquests. While their story pales as the parents' quest intensifies, the overwhelming take-out is that these kids are alright, and sensible in the face of parental paranoia.

Plus special commendation must be given to Leslie Mann's physical work towards end, which is nothing short of genius.

Blockers: Film Review

Cena's uptight jock father is solid, and Barinholtz's estranged dad, looking to reconnect, feels real and grounded during the awkward moments.

In fact, that's where Blockers succeeds, it feels more grounded than outlandish, more sensible than sensational - and as a result, whilst it's not riotous laugh a minute fare, it's infinitely more entertaining than its woefully worn out genre would lead you to believe it could - and should - be. 

NZIFF Q&A - Dog's Best Friend, Eryn Wilson

NZIFF Q&A - Dog's Best Friend, Eryn Wilson


My film is....
Dog’s Best Friend. It’s a documentary about one man, Jacob Leezak and his life’s work; to rehabilitate man’s best friend, one dog at a time. Whilst Jacob works with domestic pets with minor behaviour issues, he specialises in working with the powerful breeds that we often see in the media for all the wrong reasons.

The moment I'm most proud of is....
Getting into the NZIFF. To be recognized by a festival with the international appeal and profile the NZIFF has, it’s both a privilege and acknowledgement of what we’ve achieved with this indie film.
NZIFF Q&A - Dog's Best Friend, Eryn Wilson

The reason I carried on with this film when it got tough is.....
I trained as an actor at Toi Whakaari. I come from a free-lance background. I’ve never had a 9 to 5 job. The down side is there’s nobody else there to fire you for not turning up to work. The upside though is that you develop a thick skin, a resourcefulness, a discipline and a self-belief that if you’re passionate enough about something and you’re prepared to stick with it, you can create your own opportunities and your own work. You don’t need anybody else.

The one moment that will resonate with an audience is.......
I won’t give that moment away. Safe to say that because my protagonist Jacob is so good at what he does, it would be easy for an audience to be lulled into the expectation that Jacob is in control of these dogs at all times and nothing unexpected ever happens in the film….. That’s all I’ll say…

The hardest thing I had to cut from this film is........
An old draft of the film had it opening with a scene of a dog being put to sleep. He’d been sentenced to death after biting someone and not being registered and his owner basically gave him up. A sad but typical story. Bad ownership of the first degree. I treated the scene delicately, knowing it would be controversial but I felt passionate that my audience needed to filter the rest of the film through that opening scene. Well. Festivals wouldn’t go near it with a barge pole. After being knocked back by several festivals I finally took out that scene and we got into the very next festival we entered. Safe to say, it’ll be left in the director’s cut.

The thing I want people to take from this film is ......
Dogs are like children. They are not born bad. They simply reflect the time and attention their owners choose to put into them. And it takes a very special person who’ll dedicate their lives to helping these damaged dogs. That person is Jacob Leezak.

The reason I love the NZIFF is.......
I’ve always loved the NZIFF. The wide range of films, the numerous venues, the buzz of the festival, especially at night. Buying a 10-trip ticket and dissapearing into the festival for a couple of weeks is invigorating, inspirational and opens the mind. It’s truly wonderful and a credit to Bill and the team.

What the 50th NZIFF means to me is......
Its testament to the quality, integrity and popularity of the NZIFF. And what better way to mark my feature film directorial debut than to be a part of the 50th anniversary. I’ll never forget it.

Doctor Who Series 11 trailer is here

Doctor Who Series 11 trailer is here




The BBC has confirmed the first look at the new series of Doctor Who, with an exclusive new trailer shown during the BBC coverage of the World Cup final. 

It comes as American magazine Entertainment Weekly brings us the first look at the new Doctor Who series starring Jodie Whittaker as the 13th incarnation of the Time Lord.

There are also exclusive first looks at the new TARDIS team, led by Jodie Whittaker too.
Doctor Who Series 11 trailer

Doctor Who Series 11 trailer

Doctor Who Series 11 trailer


NZIFF Q&A - Merata Heperi Mita

NZIFF Q&A - Merata Heperi Mita


My film is....
A family story about a solo mother of 5 who struggled through social upheaval to pioneer a cinematic art form.

The moment I'm most proud of is....
Sharing the bittersweet nostalgia I feel when revisiting my family’s past.
Merata

The reason I carried on with this film when it got tough is.....
I felt a huge sense of responsibility to my family to portray their story with integrity, and because the story was too inspirational to give up on.

The one moment that will resonate with an audience is.......
My sister’s honesty around the sacrifice she and her family made as children while their mother documented some of the ugliest aspects of New Zealand’s society.

The hardest thing I had to cut from this film is........
One of my brothers passed away unexpectedly two weeks after I interviewed him, so cutting anything out from him was very hard for me as I felt that seeing him on screen was a way of being close to him again.

The thing I want people to take from this film is ......
Great people aren’t necessarily motivated by ambition or political ideals. Smaller, more intimate drives such as love of family, can be just as powerful.

The reason I love the NZIFF is.......
Over the years the festival has entertained me, educated me, horrified me, made me laugh, broken my heart, helped me escape, made me want to make a difference. It’s where I go to feel the full spectrum of the human experience.

What the 50th NZIFF means to me is......
The continuation of the annual ritual of trying to juggle life around obscure film showings during times where I probably should be taking care of more pressing responsibilities…  Long may it continue!

Saturday, 14 July 2018

NZIFF Q&A - Bludgeon - Ryan Heron and Andy Deere

NZIFF Q&A - Bludgeon - Ryan Heron and Andy Deere


NZIFF Q&A for directors: Bludgeon – Ryan Heron and Andy Deere

My film is…. 
One of only a handful of things that I’ve made that I want people to see. Ryan Heron
A unique little documentary that I hope people find entertaining. Andy Deere

The moment I'm most proud of is…. 
Starting.  That first step of turning down commercial work, social commitments etc and instead driving to the Taranaki to film an old school pal swing an axe around outside an old bread factory is kind of tough one.  After that we were both invested and knew we were onto something so it had momentum.  (RH) 
Finishing. We’ve both invested so much time and energy into making this film it’s pretty exciting to get to show it to people.  (AD)
Bludgeon

The reason I carried on with this film when it got tough is…..  
Other than Andy’s erratic mood swings it was plain sailing.  (RH)
I was already in too deep and I’m generally afraid of Ryan. (AD)

The one moment that will resonate with an audience is……. 
For me I think the whole film is about finding your team. Whatever you’re into (no matter how bizarre that may seem to other people ) there’s bound to be others out there who are into it too. (AD)

The hardest thing I had to cut from this film is……..  
Some of the Polish national team talking (in Polish) about getting aroused in armour.  I had a Polish friend translate it. (RH)
Some of the other success stories from the team in Denmark but unfortunately it felt too confusing to introduce too many characters. (AD)

The thing I want people to take from this film is …… 
Nothing, it’s not really an issue focused film.  I’d just hope they’re entertained. (RH)
I just want people to be entertained.  (AD)

The reason I love the NZIFF is…….  
Well this year it’s because they’ve given us the opportunity to show our film off in the cinema. (RH)
I love being able to blindly turn up to a film I know nothing about and know i’m pretty much guaranteed to see something interesting. (AD)

What the 50th NZIFF means to me is……  

They’ve been going as long as my parents have been married then.  I can’t imagine it’s been easy. (RH)