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The UK Creative Industry Council have released a 5 year strategy for cross industry collaboration.

The figures speak for themselves; the creative industries in the UK play a pivotal role in the vitality and reputation of the UK and EU economies. The sector is growing at 8.9% a year and is responsible for the employment of 2.9 million people.

The strategy provides a promising outlook on the UK creative sector and addresses key issues relevant to New Zealand.



This month the Music Managers Forum hosted a very successful annual awards evening, celebrating the hard work of music managers in New Zealand.

The night was a great success, seeing a large range of both people and venues honored for their dedicated work in the industry.

The 2016 Music Managers Awards Winners are:

Recorded Music NZ Manager of the Year: Ashley Page (Broods, Joel Little, Jarryd James, Alex Hope) 2nd year in a row
Breakthrough Manager of the Year: Alastair Burns (Marlon Williams, Julia Jacklin)
NZ Music Commission International Achievement: Alastair Burns (Marlon Williams, Julia Jacklin)
Self Managed Artist: Tami Neilson
Independent Tour: Mel Parsons
OneMusic Large Venue: Studio, Auckland
OneMusic Small Venue: The Tuning Fork, Auckland
Industry Champion: Teresa Patterson, CRS Management
MMF Mentoring Program Achievement Award: Avina Kelekolio and Tana Tupai

New Zealand’s Huhu Studios have signed an $86 million agreement with Chinese animation leaders, DeZerlin. The agreement will see through the production of five animated films over the next three to four years.

The deal is said to create at least 72 jobs in New Zealand. It is estimated that two-thirds of the work coming from the deal will be completed in New Zealand.

This deal demonstrates the phenomenal creative value of New Zealand’s animation and film industry, an industry that is clearly at the top of the global game.


The collection of original New Zealand art music is in a healthy state after five years of the Resound project.

Funded by NZ On Air, Resound is delivered by SOUNZ Centre for New Zealand Music in partnership with RNZ Concert. It is a project to increase the amount of Nw Zealand composed music available to RNZ Concert for broadcast and for online access via he Sounz Media On Demand website and he RNZ Concert website.

It is an important contribution to the New Zealand music scene breathing life into archived recordings and making the new recordings of New Zealand works.

“New Zealand composers and concert audiences are being well-served by the Resound project, which has produced an extraordinary number of sound and video recordings of original NZ are music. We congratulate all involved in the project on a fine job,” said NZ ON Air Chief Executive Jane Wrightson.

The Broadcasting Act tasks NZ On Air with reflecting and developing New Zealand identity and culture through local content. Supporting a range of different types of music is key to cultural identity.

Resound has been funded by NZ On Air since its inception in 2-1-. In 2015 it received $130,000.

Check out the Resound showcase.


Ninety educational publishers and ed tech companies will be meeting next week with the Ministry of Education in Wellington. The discussions will involve a broad range of educational topics ranging from user research to digital technologies in education and trends in publishing platforms and educational resources.

The meeting is fully subscribed with a waitlist. A report will be published in the next PANZ newsletter.




The composer should score what you can’t see, the SFX sound design enhance what you can

Veteran NZ film composer Graeme Revell (DEAD CALM, THE CROW, THE SAINT, THE CHINESE BOX (Gold award, Venice Film festival), BLOW, SIN CITY, CSI MIAMI, GOTHAM) gave an insightful and honest account of his career to date – with composer Victoria Kelly moderating.

He talked about his ongoing collaborative relationships with directors.  Some of whom he has continued to work with over many years such as Philip Noyce whom he worked with on Dead Calm and then many years later on The Saint.  Part of working with directors and filmmakers is finding a language that the creative team uses and understands – and of course this will vary on each film project.

The huge variety in his work is interesting – whilst in some ways he thought he had never got that “important film” he had the opportunity to work on a large number of films in a whole range of genres and styles.  He admitted to sometimes feeling typecast as the “ghostly voices guy” but has continually made effort to try different styles.  Coming from a background in industrial and sonic experimentation perhaps this was a given.

When asked “How do you become a film composer?” Graeme says just to “write music” and keep doing it. 

He believes that a composer is every directors “secret weapon” to complete a film and that part of working on a film is changing and rolling with the punches to complete a project.

For approaching key scenes in a film he had interesting advice to offer – especially in regards to romantic scenes that can easily veer into schmaltzy territory.  It’s best to ignore the actual ‘moment’ and create beautiful moods on either side instead.

For his work on Sin City with Robert Rodriguez the Noir-ish score was based around a lot of audio experimentation using samples of a trumpet mouthpiece and old melotrons to create interesting effects and ambiences.

He was critical of action movie scoring where a composer can be locked into what he calls “Mickey Mousing” – trying to just write music between cuts rather than writing themes.  Where the music becomes more of a percussive sound design than a recognisable score.

But he has been fortunate or determined to avoid repeating himself musically.  Whilst he considers himself to be a really bad musician he does really understand sound and SFX – The composer should “score what you can’t see” (interior monologue or characters) and SFX/sound design should “enhance what you can see” – but acknowledges the lines do blur.

Graeme tends to work alone and does his own orchestration these days – he also works with lots of ethnic instruments – being very open minded and researching in your down time to find inspiration and new and original ways of doing things; such as the Ney flute player he discovered working in Upstate New York laundry.

He also talked about the contraction of the film industry and working with shrinking budgets. He talked about what he terms “Hip-hop scoring” where you collect, record and sample material constantly to try and create more “bang for your buck”.  He has been lucky to be able to store in his library samplings of major orchestral sections – but acknowledges that more and more filmmakers are expecting the sound of a 90 piece orchestra for a fraction of the price …

He did however talk about the need sometimes to invest or “take a hit” on jobs to get ahead and sometimes unless you “show the client they won’t believe it” – He personally paid for recording live strings himself on The Crow as the director could not hear it working.  For the film Pitch Black he also covered the fees for the horn section.

The ideal for a composer is forming long term working relationships, but that not all relationships work out and not all jobs develop into long working relationships.  Rather focus on what you’re really good at and keep writing music!



Hon. Paul Goldsmith, Ben Stephen Knightly

Hon. Paul Goldsmith, Ben Kenobi,  Stephen Knightly,  Dr George Barker




Oliver Driver

Oliver Driver – MC

Paula Browning - Chair, We Create

Paula Browning – Chair, WeCreate

WeCreate held an event in Auckland to launch the 2014 PwC valuations for the NZ book, music, game development and film & television industries, available here under Facts & Stats.

The report, and a government Creative Sector Study were announced by Hon. Paul Goldsmith – Minister for Commerce and Consumer Affairs and the Minister was thanked by WeCreate’s Chair, Paula Browning.

A large number of WeCreate members and friends attended the evening together with a team from MBIE.

Thank you to all who made it a great event!




Four Innovative new digital projects have been selected from a very competitive field of applicants, along with three flourishing previously online projects for varied audiences.

Two of the projects supported from them Digital Media Innovation fund are for children.

My Guardian (Toku Taniwha) is an interactive ebook app for 6 to 12 year olds. Using puzzle and game elements and te reo, it tells the interactive story of a boy and his taniwha.

Moe And the Unexpected Bully, for a younger audience, sees the loveable furry kids TV character Moe help children deal with the subject of bullying, through an interactive e-book app.

For a youth audience, The Outlook for Someday is New Zealand’s sustainability film project for young people, supporting creative innovation by about 1000 young people each year. The funding will ensure the shortlisted and winning films are online and enable live streaming of the Someday Awards ceremony.

Lifestylers is a series of eight short documentaries about some of the characters living in The Supported Lifestyle Hauraki Trust. Audiences first met one of he residents through the acclaimed short documentary Wayne, as part of the 2015 Loading Docs.

NZ On Air is also pleased to renew support for the three ongoing online projects hat reach large and varied audiences. The Fresh Voices strand of content on The Wireless continues to deliver stimulating content to a young adult audience, and The Coconet is continuously expanding its Pasifika content that connects young Pacific people with their roots. NZ On Air will support a further year of the Loading Docs documentary shorts project this year with the theme of ‘Change’.

“Digital content makers ar finding new creative ways to engage audiences. We encourage and support this. The funded projects are he best of an exceptional pool of applications,” said NZ On Air Chief executive Jane Wrightson. “These type of projects allow diverse content to reach audiences that are not well-served by mainstream, or in new engaging ways.


A new animated pre-school series encouraging kids to explore simple science ideas is the first co-production funded by NZ On Air that is hoping to access the revamped NZ Screen Production Grant scheme.

Darwin and Newts will take youngsters on a comical journey of learning as two brothers figure out how stuff works. Under scheme rules revised last year, qualifying television animations and children’s drama projects are eligible for rebates of up to 40% on qualifying NZ production expenditure. These are the only genres that can also apply for NZ On Air funding.

Also returning The Moe Show, Sticky TV returns for it’s 15th season and What Now celebrates its 35th anniversary in 2016. A second series of The Barefoot Bandits and the rebranded teenage afternoon show, The Adam and Eve Show.

We are currently reviewing our Children’s funding strategy to ensure we are keeping pace with the demands of this very mobile audience. We anticipate making changes in 2016/2017 year,” said Jane Wrightson CEO of NZ on Air. “Children are very well served by television but are increasingly content online via a range of devices.


NZ On Air has been inundated with creative, innovative stories for audiences on multiple screens and devices attracting a record 109 applications.

In total eight web series, most with a strong comedic themes, have been supported.

“The calibre was outstanding; we were blown away. We had to make some very hard choices, but we were so impressed that we found some extra money to support more than we had originally intended,” said NZ On Air Chief Executive Jane Wrightson.