Wellywood Woman

Anyone read this? Sounds wonderful-- Off I go to check it out. Here's a link to an article by Helen Jacey, "Finding the woman's voice". And another, to Helen's blog . And UH-OH, Helen posted this from the London Screenwriters Festival: Really enjoyed myself at the London Screenwriters Festival. First time EVER had more guys in the room than gals for my session. Sunday morning at 9.30 but what a buzz in the room. I'd wondered if her book would be especially useful for men, and although I'm not into 'pink & blue' thinking for writers, I worry that universal access to her ideas will offer male screenwriters more opportunities than women.

After the Waterfall , Simone Horrocks' responses to my questions, is one of the most popular Wellywoodwoman posts ever. So all of you who read her story and loved it, here's your chance to see the movie, if you live in New Zealand. After the Waterfall opens in cinemas on November 4th. Our other women-directed features, Gaylene Preston's Home by Christmas , and Rosemary Riddell's The Insatiable Moon (currently number 7 in New Zealand's top 10, and accompanied by Mike Riddell's legendary blog ) have done so well this year. I'm hoping that After the Waterfall will too, if we all support it, especially on its opening weekend. (And there are more women's features to come: Roseanne Liang's  My Wedding and Other Secrets  is in post-production and has a brand new  Facebook page . Kirstin Macon's  The Most Fun You Can Have Dying  is on its way.) And for all you  Outrageous Fortune  fans, at some After the Waterfall screenings there are opportuni

Well, nearly it. Just one more deadline to meet, before 11.15pm. But having a little rest, and seeing a link to Joni Mitchell (yep! still checking out those Girls Like Us ) I found this clip. Spot on at the end of this Hobbit -filled week, with enough conflicts and characters and secrets and revelations for fifteen movies. In the end, what's a girl to believe? Especially if she's read Lorraine Rowlands' thesis , and learned a little more about what working in the industry costs New Zealand film workers (and the health and social welfare systems)-- You might enjoy Joni too. If you've got a drink in hand, are pottering about between #FF tweethearting & FB. If you're a bit lost because Russell Brown finally closed the Public Address Hobbit party in the very early hours of this morning (Islander still in fine fettle). If you've caught up with Gordon Campbell's analysis . If you're a mite confused about it all, remembering especially those John Campbe

lisa gornick: desk life Lisa Gornick , you're a star! This is me today. And I needed to know that I am not ALONE. All that's missing from the drawing is my big white board with a looooong list. My little red Moleskine diary with another list. And my brief visits to the garden where something's eating the new beans, I've moved the compost bin, and where I may later scatter some organic sawdust. Oh yes, & the visits to the fridge. But otherwise, the desk is where everything happens. And must keep happening, for the next few days. Thank you, dear Lisa.

I HATE reading and writing treatments, the short, ‘selling’ documents that tell screenplays’ stories, often with an emphasis on the plot points. They’re a special kind of synopsis and they bore me, whether I’m the one writing or the one reading; I’ve almost never read a treatment I’ve enjoyed, or that made me want to see the movie. So, not surprisingly, I’m also hopeless at writing treatments, whether they are one or ten pages long. And the ones I wrote for Development -the-movie, at the Branchage Directors Lab, were awful. At the end of Branchage we were offered an opportunity to rewrite our treatments and send them to Peter Strickland, writer/director of Katalin Varga (see links below if you’re not familiar with this lovely, multi-award-winning, film). I wrote a nine-pager, trying to use the feedback I’d been given at Branchage to make something that was a whole lot better. And yesterday Peter sent his response. It was so generous, one of the best bits of feedback I’ve ever had.

Keri Kaa, at Rangitukia 2010 Keri Kaa’s Te Whaea Whakaata Taonga , presented at the recent Women In Film & Television (WIFT) awards, acknowledged “an exceptional woman whose meritorious contribution to the arts, culture, and heritage over the last 50 years has had an immeasurable behind the scenes impact on film and television”; Keri's worked tirelessly with funders and policy makers to forge the pathway for Maori filmmakers to tell their stories. And that’s just one aspect of her extraordinary life and work. When I met Keri, more than thirty years ago, she was a Wellington Teachers College lecturer and a writer, associated with the artists and writers in the Herstory diary, Haeata, and Waiata Koa collectives. As a pakeha, I knew her as the translator—with Syd Melbourne—of Patricia Grace & Robyn Kahukiwa’s classic children’s picture book The Kuia & the Spider/ Te Kuia me te Pungawerewere , and I loved the poems and a review she contributed to Spiral 5 . Keri also

I wanted to take  Development  out to a bigger world, to get a fresh perspective on the project. So I went to the  Branchage Directors Lab. It preceded the quirky Branchage Film Festival, where many movies are shown in unusual places—on a tugboat, in a polytunnel (the compelling  Vanishing of the Bees ), in a sushi bar, in a herd barn, onto a dam's wall one year. Accompanied by lots of live music and performance with and without movies, and even a magic lantern show. And amazing parties, one in an ornate mirrored Belgian Spiegeltent where people have caroused for 100 years: the extraordinary Ziveli Orkestar and their associated performers completely seduced me that night, lovely to want to dance again.