What makes a killer idea? When does a producer know they have one and how can the concept be fully realised for success? Three of New Zealand’s most experienced producers sat down with MC writer Dianne Taylor (Apron Strings) to discuss ideas that fly, falter a little or flop altogether … and why.

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Summary from August 2011 Script to Screen Writer’s Room

The collective experience and success of John Barnett (My Wedding and Other Secrets, Sione’s Wedding, Whale Rider), Steven O’Meagher (Out of the Blue) and Arani Cuthbert (The Topp Twins: Untouchable Girls) was showcased in clips shown throughout the evening and the discussion began with one of New Zealand’s favourite films.

A killer idea … taking that concept to feature film … looking for an excellent example? Search no further than Sione’s Wedding … and soon we’ll be enjoying Sione’s Wedding 2. Dianne asked John to explain the success behind a film New Zealand filmgoers have taken to their hearts.

“It was a hit and many of those associated with the film have gone on to bigger things. All of the actors in Wedding have greater profiles now, James Griffin and Oscar Kightley wrote it and of course they have earned many credits since, as has director Simon Bennett who is directing the sequel, so the idea behind Sione’s Wedding was a great one and a sequel was always on the cards.”

When asked to define what he considered to be a great idea, John said, “When I come across an idea, I always think about who would come to see it on Day One and tell their friends about it? An idea may be interesting but if no one would pay to see it at the cinema, then it’s probably not a good one. The inspiration behind Sione’ s Wedding came after I went to the Pasifika festival one year – there were over 180,000 people there. I’d seen The Naked Samoans perform and I thought, ‘there are all these people here and no one is making anything for them’.”

John distances himself from the idea, asks himself what the story will be about and will it appeal.

“The idea must have an audience – it must have something that they want and not what you think they need. An audience must be able to understand your idea, know why they want it, realise that they must take action and see it now. If you look at the New Zealand films that have done well, they usually have a hero and they are enjoyable. Out of the Blue deals with a dark subject but the police are heroes. People don’t want to go see New Zealand movies that leave them feeling bad. They just won’t go.”

Arani Cuthbert is well known for her work with our much loved duo the Topp Twins and Dianne asked, “Why did you make a film about two yodelling lesbian twins?”

“Such a film would never have been made anywhere but New Zealand,” Arani replied. “It was an easy sell because we all know the Topps so it was a smooth process. However both television networks turned it down initially and that made me more determined to approach the NZ Film Commission. I knew the Topps had a big theatre-going audience so I was certain we could deliver an audience that would go to the cinema. The pitch was ‘the history of New Zealand during the life and times of the Topp Twins’, so all their political activities and their lives in general were appropriate and interesting material.”

Even though the Topp Twins are a proven formula, Untouchable Girls exceeded expectations. “I’ve done a lot of live shows, risking my own money, so I have developed a knack for sensing what an audience would like to see. Once people know what you are selling, they’ll come along.”

Arani said she was well armed ‘with attachments’ when she proposed her idea to the NZFC. “I had secured funding from a private investor and Leanne Pooley (a director with a background in feature documentaries) was on board to direct. The budget was low. We took low fees so it was not a big risk for the NZFC and they said ‘yes’.”

Steven O’ Meagher was browsing through the remainder table in a book store one day and came across a book about Aramoana. “I knew, as a film, the story would make a great ensemble piece but I was so aware of the politics surrounding this story in our history, not wanting to desecrate those memories.”

As Arani had done with Untouchable Girls, Steven assembled an experienced team with producer Tim White, writer Graeme Tetley and director Rob Sarkies and also felt certain he had an idea that would attract audiences. “If people know the subject matter, whether they like it or not, they will come to see it onscreen.” Indeed the story was so strong, an organisation of size and considerable intent attempted to take the rights from him. “I was glad that happened because I tightened up my game and honed my skills.”

Steven believes an idea must have more value than risk, especially when it comes to attracting investors.

“If your idea isn’t robust enough to withstand the inevitable curly questions and reactions which aren’t as enthusiastic as you are to the material… then your film simply won’t happen. It can be a lonely road when you want the idea and your prospective investor doesn’t.”

John said South Pacific receives over 300 ideas every year from hopeful writers. “Each idea is assessed and eventually we option about ten but if we don’t pick it up, we always encourage people to try elsewhere, just because we don’t take it, doesn’t mean it’s dead – someone else may be interested in the idea. The average New Zealand film can take four to five years to make, from idea to finished product. Whale Rider took seventeen years from the book to the screen. When you enter into a relationship with a project, things move at the pace of the least committed person. So be careful who you go into business with. If they don’t love your idea as much as you do, then they’re not the right person. Also, always put yourself in the position of the audience. Not all ideas will make great movies.”

As a producer, Steven believes having the ‘fire in your belly’ is an absolute prerequisite to taking on a ‘killer’ idea.

“You must be able to take on the fights that are inevitable in this industry or else you will fail. You need to have the initiative to do your homework before presenting this idea to prospective investors. I think our approach to budgets in New Zealand can be unrealistic. Overseas investors must know they will receive a significant return on their investment.”

Arani is backing a new project with the Topp Twins. “I have two projects on the go at the moment. One is floundering because not all of those involved are sharing the same concept but the other is a comedy film with the Topps and we are all on the same page there, generating good story ideas. I do get frustrated because people sometimes expect you to take on a certain role as producer. ‘You’re there to get the money!’ But as a producer, I’m also there to work on ideas.”

Indeed there is a popular belief within the industry that producers are there to fund ‘the tea and toilets’ but in fact all the films these three producers have made were initiated by them. Successful collaboration is a key ingredient to a film’s success with everyone on the team supporting and contributing to the overall vision. Sounds great but getting a workable balance is not always easy.

“Part of the skill is getting the alchemy right,” said Steven. “There can be problems. In the heat of battle, you have to be thick skinned because skilled people may not always do things in a predictable way and it’s a case of harnessing those disparate personalities. The industry is very competitive and if you’re an asshole, people will find out and won’t want to work with you. As long as you maintain mutual respect and listen to the opinions of others, you’ll be fine.”

John felt television provided strong lessons about the importance of successful collaboration. “When you’re making multiple episodes of a TV show, you must be able to take criticism, put up with that and carry on. If you can’t then you’re in the wrong business.”

Dianne asked if we are seduced into taking on ideas that we can’t quite pull off in New Zealand and Steven used The King’s Speech as an example of a very successful film that is well within the capabilities of our film makers. “It had the scale of film and the sort of subject which could easily have been made here. The screenplay is absolutely precise with great economy. The screenwriter wrote for Grundy and was in the team that set up Shortland Street. This is a film of imagination. The storyline has simplicity and the characters great depth.” Arani added that the story behind a film needs to be distilled into a good, simple tagline. “The King’s Speech is about someone who stutters and we can all relate to that.”

During question time, the panel was asked to comment on some recent New Zealand films that had not been successful, in spite of all expectations to the contrary, for example The Hopes and Dreams of Gazza Snell and Matariki.

John reiterated his clear message about audience. “Who did the producer/director have in mind as the audience that would go to see these films on opening day? The budgets were enormous for the scale of the stories. Matariki was pitched to us as a television idea and would probably have worked better as such. Gazza Snell had Robyn Malcolm starring and she is so popular you’d think people would come to see her – but they didn’t. It’s a terrible feeling when a film doesn’t come off.”

“No one sets out to make a bad film,” said Steven, “but the bigger challenge is we don’t want someone to tell us our idea isn’t good. We don’t want to let go of it but sometimes we should. Sione’s Wedding 2 understands its audience really well – and will do well. With Out of the Blue, we told the people of Aramoana that they would be the first to see the film. We hired a theatre in Dunedin and showed it four times. We stayed there for all four showings and didn’t receive one negative comment from those who spoke to us and about 50% of the audiences did. 10-20% thanked us for making the film because the telling of that story did a lot for the community. We made over a million at the box office and that impressed people overseas.”

Arani said it’s called ‘the film business’ for a good reason. “We are fortunate in New Zealand because we have access to public money. I respect that and want people to come see the films I make.”

John pointed out that the top ten New Zealand films had their genesis outside of an original script. “For example, the idea for Untouchable Girls was inspired by two women that everyone knows, and Sione’s Wedding grew from very popular Naked Samoans. Boy was Taika’s story – he knew the people and they knew him. This makes a huge difference. Success will follow is the audience knows what they are going to see and they really want to see it. New Zealand movies that don’t work as well have characters that are written through a prism, not from personal experience.”

Engaging the audience on an emotional level is something all film makers strive to do – is this easier to do through television or film?

“Television will always deliver an audience,” said John, “The recent Sunday night theatre presentations have attracted big audiences. Over 400,000 people watched Bliss (the film about Katherine Mansfield) and you would’ve had a box office hit had that been in a cinema. It was easier to tell this story on television – it was better suited and there was emotional impact. The Sunday evening Billy T James presentation did much better than the film showing in cinemas.”

For Arani, going to see a film in a cinema will always be a more emotional experience. “You go into a darkened room and have reality suspended for one and a half hours. Television cannot deliver that depth of emotional involvement. Film appeals to our collective humanity.”

Summary of August 2011 Script to Screen Writer’s Room - Written for Script to Screen by Jane Bissell