Linda Halle joined Creative New Zealand recently as the new adviser to the Screen Innovation Production Fund. Already she has been involved in co-sponsoring some interesting animation industry networking gatherings in Wellington and other things of the moving image kind. We sent her off these questions and this is what she said..

TBI: What sort of background do you bring to your new position as Adviser to the Screen Innovation Production Fund?

I started out in the film industry 15 years ago as a feature script researcher...Linda Halle joined Creative New Zealand recently as the new adviser to the Screen Innovation Production Fund. Already she has been involved in co-sponsoring some interesting animation industry networking gatherings in Wellington and other things of the moving image kind. We sent her off these questions and this is what she said..

TBI: What sort of background do you bring to your new position as Adviser to the Screen Innovation Production Fund?

I started out in the film industry 15 years ago as a feature script researcher...I then spent several years in Production (Co-ordinator/Manager/Producer) before making the transition to Gripping.

A solid background in the production "machine" and on-set "nuts and bolts" filmmaking is a great combination when advising emerging filmmakers in the preparation of their funding proposals. The ability to read a script, understand its technical requirements and the costs associated/the budget is important in assessing the viability of a project.

TBI: What are the exciting edges of the sector innovation at present?

The advent of digital technologies has increased the scope and quantity of projects being realized. Filmmakers can now shoot their films for a fraction of the cost and can then edit the work at home on domestic PCs. In the long run, we should see a greater diversity of "voices" telling stories.

With the Government's recognition of the benefits the Creative Industries can bring to the nation's economy, it is an exciting time for those working in animation.
The Animation Industry has the potential to branch into so many areas including science, health and education, gaming, telecommunications, etc.

TBI: I sometimes see the film sector as the most politicised or articuate creative sector. Would you agree?

Well, it's certainly one of the more "politicised". The vast audience potential means a film can reach millions of people across the world and if there is a political edge to its message, it can be influential. Think of the discussions born out of Mike Moore's, Fahrenheit 911

On another level, the New Zealand film industry has been very active in lobbying Government (increased film funding, tax incentives for foreign productions/investors etc) and ensuring the concerns of stakeholders are heard. The Screen Production and Development Association (SPADA), the Screen Director's Guild of New Zealand (SDGNZ), Women In Film & Television (W.I.F.T.) and the New Zealand Film and Video Technician's Guild are just some of the organizations articulating those concerns and presenting them to Government.

With the amounts of monies and the international markets involved, the industry has had to retain an active involvement with Government, keeping track of and contributing to discussions around pending legislation, policies etc.

TBI: What's the biggest challenge ahead of you?

There are still a lot of emerging filmmakers that do not know of the existence of the Screen Innovation Production Fund so that is an on-going mission for me - to spread the word.

Another area needing attention is Documentary filmmaking. There is so much pressure on SIPF as far as funding documentaries - there seems to be a shortfall in funds available for innovative, non-mainstream stories that do not necessarily fit into the television format. And Kiwi's LOVE documentaries! I would like to see more support for documentary filmmakers and their projects.

The Screen Innovation Production Fund has always focussed on the creation of new work but I would also like to contribute to increased access/screening opportunities for all short films. Many of our senior filmmakers started off making shorts which is not something most of the public would realize. The next Niki Caro could be making her first short film right now!

TBI: Can you talk about the funding of digital feature films?

The lower production costs of digital feature films allows those heading toward feature filmmaking to "cut their teeth" on the longer format with reduced financial risk.

The Screen Innovation Production Fund has supported several digital feature films over the past few years. Woodenhead, Kaikohe Demolition (Florian Habicht) and Christmas (Gregory King) are a few examples of successful films made with SIPF support.

The amount funded in any given funding round is capped at $25,000 which is very low-budget for a feature. The filmmakers have to stretch their resources, pull in favours and inspire fellow crew and cast to participate for reasons other than financial gain - and they do! Apart from practical considerations, it is an opportunity for filmmakers to try their hand at sustaining a story for a longer duration (ie 90 min vs 15 min) with minimal risk.

Recently, the New Zealand Film Commission established a Digital Feature Film Scheme, which, it is hoped, SIPF funded filmmakers will "graduate" to. This would enable the filmmakers to bring more ambitious projects to fruition with budgets closer to $250,000. Success at this level would increase the potential to then move on to the Commission's Film Fund, with budgets in the millions.

TBI: Do you want to describe the animation initiatives that you have been organising in Wellington and are hoping to bring to Auckland also?

The Screen Innovation Production Fund and Positively Wellington Business have co-sponsored a series of four Animation Industry Gatherings in Wellington at the Film Archives Mediaplex.

Animation has been identified as a key industry in the digital environment we are now in (telecommunications, gaming, broadband internet etc) but it is also an industry in which practitioners tend to work in isolation. The purpose of the Gatherings includes resource-sharing, the establishment of a data-base, increased employment opportunities through networking and a forum in which people working in the industry can meet and view each others work.

A steering committee has now been formed and it appears the Gatherings will continue after the fourth co-sponsored event takes place in early July.

What do you like about the job so far?

It's a tough industry with "feast and famine" cyles - it's wonderful to have the opportunity to meet filmmakers who are in the early stages of their careers, still so optimistic and embracing the new technologies constantly coming on-stream. It's also such a treat to be able to see so many short films!