Image above: NZFC Kaiwhakawhanake Hinonga | Māori Development Executive, Kathryn Graham, and producers, Desray Armstrong, Alix Whittaker, Morgan Leigh Stewart and Rachel Fawcett.
What is MIFF 37ºSouth?
MIFF 37ºSouth is a film market, attached to the Melbourne International Film Festival (MIFF). The event hosts a number of the world's best sales agents, financiers, and distributors and connects them with New Zealand and Australian producers with pitch-ready projects. It helps foster connections and forward momentum for producers at various levels.
NZFC is a Gold Partner of the MIFF 37ºSouth Market and provides sponsorship funding to support this event as a more local opportunity for New Zealand producers to meet and pitch to international market partners and industry bodies. Producers can apply to NZFC for support towards their travel costs to attend international markets and festivals through the Producer International Travel Fund (PITF) and this year, NZFC supported 10 producers attending 37ºSouth with a PITF grant.
Amongst the New Zealanders attending were PITF recipients, Alix Whittaker and Rachel Fawcett, along with Morgan Leigh Stewart (PITF recipient for Cannes Film Market 2023) who won best pitch. We hear from them below.
Tell me who you are and what you do.
Morgan Leigh Stewart a film and TV producer based in Auckland.
How did you become involved in the screen sector?
Just followed my love of movies - firstly into festivals, and then into production and producing.
What were you hoping to achieve by attending MIFF 37ºSouth?
I was looking to assess interest in my horror project So Lonely I Could Die (written and directed by Andrew Todd & Johnny Hall), as well as re-connect with existing contacts, and make new ones.
How would you describe your experience there?
Fantastic - this year felt very positive, with a lot of interest in my weird projects!
What kinds of people did you meet with?
I met predominantly with local distributors and international sales agents. I also met with a few of Australia's state agencies to look at what kind of resources and incentives that they offer.
What were your highlights? Any unexpected conversations?
During one meeting, Alix Whittaker and I were pitching Mum, I'm Alien Pregnant to a sales agent who at the beginning of the meeting said "not for me", but by the end he was so enthralled he changed his mind! Also winning the best pitch was an incredible highlight (even if I missed the announcement!)
What are the secrets to delivering a good pitch?
For me it's understanding who you are pitching to. I also like to keep the initial pitch brief then turn it into a conversation, and talk about the parts that excite me the most!
What has happened since attending? Have you had/do you expect any direct benefits for your projects as a result of attending the market?
I'm planning my trip to the London Production Finance Market! I've also had significant interest in So Lonely I Could Die - which is fantastic.
What advice would you have for someone preparing to go to their first film market?
I do a lot of research into who I'm meeting so that I know what kind of projects they are interested in, and I can shift my pitch towards that - or shift which project I am pitching. Try to attend as many other events as possible - you don't know who you'll meet or what you'll learn. Wear comfy shoes...
How did you first come across NZFC and how have they been involved in your career development?
I think my first interaction with the NZFC for financial assistance was a professional development grant to attend the Palm Springs ShortFest in 2013! The market support provided by the NZFC (like the work done in Cannes) is fantastic.
What are your next steps for your project?
The London Production Finance Market is the next stop with So Lonely I Could Die - further assessing the market interest, and pulling it together with partners.
Tell me who you are and what you do.
Rachel Fawcett, a Chinese-Kiwi producer working and living in Tāmaki Makaurau.
I have a production company called Lusty Productions with JJ Fong, working across a slate of film and TV projects at different stages of development. Currently, I'm in early pre-production for a series shooting early 2024 with writer-director Victoria Boult, and am gearing up to shoot my Catalyst short with writer-director Jolin Lee.
Image above: Pulkit Arora and Rachel Fawcett at MIFF opening night
How did you become involved in the screen sector?
My background is in marketing, but the goal was always producing film and TV. Several years ago, I was lucky to meet the wonderful Roseanne Liang, who kindly gave me my first co-producing opportunity on Friday Night Bites season 2. Forever grateful to her for giving an inexperienced but very enthusiastic girl a change.
What were you hoping to achieve by attending MIFF 37ºSouth?
I had two feature projects to pitch. For the main project, my hope was to connect with distributors and sales agents, and create a pathway forward for the project which is currently at the financing stage. For the second project, which was in early stages, I was seeking out market feedback.
How would you describe your experience there?
Productive, exciting, motivating and exhausting (in the best way). I felt so much joy just putting my projects out there and gaining insights and feedback from people who have been behind some incredible productions. Even if my projects weren't for them, I always walked away with some useful insight. I also loved connecting with other Kiwi producers, including so many who inspire me constantly like Desray Armstrong. It was my very first film market, and everyone was so kind and willing to offer advice and connections. I walked away with a lot of business cards and some follow up meetings - so all in all a successful market!
What kinds of people did you meet with?
The majority of my meetings were with international sales agents such as Embankment and Bankside (who were lovely!), as well as financiers (shout out to Zach and Pranali from Fulcrum), and a variety of ANZ distributors.
Image above: Rachel Fawcett, Vicky Pope, Thomas Coppell, Morgan Leigh Stewart and Desray Armstrong.
What were your highlights? Any unexpected conversations?
Highlight was definitely meeting Dan and Poppy from Film Finances Australasia, as well as connecting with my fellow Kiwi producers. Might sound strange but because everyone is so busy with their schedules, we don't often have the opportunity to get together in person at home. Funnily enough, we all had to get into a film market and fly to Melbourne to hang out. It was so great to hear about how well everyone is doing and the projects they have coming up.
What are the secrets to delivering a good pitch?
Confidence and vulnerability. It's super important to remember that the people you are pitching to are human too...and no one wants to be talked at or given an overly rehearsed speech. In respect to market pitching (one on one meetings) I like to get to know the people I'm talking with, connect about the kind of films we love, and why I do what I do. It just opens us up to each other a bit more. When I talk about my project, I always try to remain enthusiastic and hit the points I believe are most interesting to them. Knowing your audience is key. Financiers, for example, don't want a big song and dance - they want to know what stage you're at/budget level/finance plan etc. For sales agents and distributors, they certainly were more interested in story and package e.g. who you're thinking about casting, who your audience is, budget level etc.
I would say the key to a good pitch is that ability and skill to forge a connection with others. Eye contact, confidence, enthusiasm and hitting points that are relevant to their business.
What has happened since attending? Have you had/do you expect any direct benefits for your projects as a result of attending the market?
I've met with my respective teams to chat about next steps for scripts and financing. So currently some redrafting is happening, as well as some chats about money money money. I've set firmer milestones/timings for the two projects, and feel like the market really helped me lay out key stepping stones for the next 12 months.
I also have some follow up meetings with distributors which is really exciting, as well as some sales agents keen to read scripts. I'm waiting for updated drafts before hitting send - conscious that I have to strike at just the right time.
Image above: MIFF 37 South location (Forum Melbourne)
What advice would you have for someone preparing to go to their first film market?
I would suggest chatting to an experienced producer who has attended multiple markets. They can offer insight on everything from who to meet with to how to avoid burn out! It's also important to have your scripts, pitch decks and finance plans in a good place. Getting business cards made is also a good idea to allow for the quick exchange of information when your time runs out. I didn't think business cards were really a thing anymore...turns out I was very wrong. You can go digital with your card if you want to save paper (I scanned some really fancy ones at MIFF).
Also, bathroom breaks are few and far between so plan accordingly!
How did you first come across NZFC?
Through applying for Fresh Shorts and Catalyst. I've been lucky enough to get Catalyst and have really loved that I've been able to go to the talent development team for advice and help at every stage. They've been awesome in supporting my growth as a producer, offering guidance during some tough times. Their encouragement has been so valuable to me.
What support was available from NZFC that helped you with MIFF?
NZFC granted me travel funds to get to MIFF in the first place (phew) as well as on the ground support while I was there. Their table at the market was kinda my home base at times.
What are your next steps for your project?
For the first project, we have some script changes to implement, so that's the priority. Myself and my co-producer will be working on budget and finance planning for the next wee while, with a view to get a distributor on board soon.
As for the second project, we want to bring on a script consultant to work with our writer, before applying to the Early Development Fund (EDF) sometime next year.
Tell me who you are and what you do.
Alix Whittaker, I’m a producer born, raised, and based in Tāmaki Makaurau.
I’m an intersectional feminist, a mother, a witch, living in a cute community near Ōwairaka where we garden and engage in activism together, and I'm a lover and maker of films. I run my own production company Candlelit Pictures, under which I’m developing a slate of feature films, predominantly genre films with rad asf, complex, interesting female characters and urgent themes that align with my moral compass.
I come from a background of music videos and short films, highlights across my career include; x4 ‘Show Me Shorts, Best Music Video Award’ Winning Music Clips directed by THUNDERLIPS; the short film DANIEL by Claire van Beek, which premiered at Clermont Ferrand in early 2020, and played in competition for NZ’s Best Short Film at NZIFF 2020; and Chris & Eli’s Porn Revolution available to watch on The Spinoff.
I’m also one of the series producers of Someday Stories - which is a short film fund specifically for young (under 29 years old) first-time funded directors to make their first funded film with a huge amount of talent development support behind them. I’m incredibly passionate about talent development, and am really proud of the work we do at Someday Stories. Our fund is open for applications right now - so if you’re someone who’s trying to make their first funded short film, please consider applying!
Image above: Alix Whittaker
How did you become involved in the screen sector?
I grew up back stage in the community theatre scene in Auckland, both of my folks were stage managers and directors of shows at Dolphin Theatre, Stables Theatre, and Howick Little Theatre. So I got into theatre from a young age, started rigging lights in my early teens, and when I was 20 years old I was stage managing a play at Basement Theatre - and the director asked me to consider producing a short film script he’d written. I loved films, and was starting to feel like I wanted to move on from the theatre scene, so I said yes, and we ended up taking a crew of 15 people to the Hawkes Bay to shoot for a week, on a $2k budget. We all slept on foam mattresses on the floor of a barn. I look back on that now and acknowledge the power of naivety, there’s no way I could (nor would I want to) pull that off now. That short went on to play at NZIFF, and watching the audience respond to the film was a turning point in my life - I realised this is it, this is what I want to do. I haven’t looked back since.
What were you hoping to achieve by attending MIFF 37ºSouth?
I attended for the first time this year, with a slate of three feature films, and I was hoping to attach an international asles agent and a local (Aus/NZ) distributor to one film, and receive market intel on the other two.
How would you describe your experience there?
My experience there was fantastic - I received a lot of affirmation from the marketplace, found a tonne of interest in all of the films I was pitching, and was so happy to find all of the International sales agents and local distributors were super friendly and approachable. There were heaps of NZ producers there, and we all supported each other with intel and encouragement. It was so wholesome.
What kinds of people did you meet with?
I met with international sales agents from around the world, and local distributors primarily. I also met with an Australian book publisher looking for producers to option books, and a couple of lenders too.
What were your highlights? Any unexpected conversations?
The entire experience was a highlight, but one stand out would have to be going to a live fantasy/sci-fi inspired retro hard/progressive rock/metal band with the international sales agent I was trying to bring onto my main feature film project, that was dope. In terms of unexpected conversations, the encouragement and positivity I got from the marketplace was unexpected, I had expected the sales agents and distributors to be a lot less responsive, and more reserved/guarded in their reactions to the films I was pitching, but their excitement for the work was palpable.
What are the secrets to delivering a good pitch?
The secret to delivering a good pitch is knowing your film really well, being it’s biggest fan, and knowing who it’s core audience is.
What has happened since attending? Have you had/do you expect any direct benefits for your projects as a result of attending the market?
I’m communicating with the sales agent and distributor we’ve attached to my lead film - we’re all working together toward a production finance application for the NZFC, so please keep your fingers crossed for a green light for us! The direct benefits for my lead project are having these collaborators on board, their wisdom and encouragement are invaluable. The direct benefits for the other two projects on my slate are that I got to see how the market was perceiving them, and that’ll inform the next phase of development on both of those.
What advice would you have for someone preparing to go to their first film market?
Make sure you have at least one script that’s ready to go before you attend - meaning it’s shoot ready, you have a directors treatment/look book ready to show, and you have a finance plan ready to discuss. Pitch that film first, and mention that it’s the one you’re pushing to go right now. Try to generate a sense of momentum around that project.
How did you first come across NZFC?
Google. I was looking for short film funding for the short film scripts I was trying to make, and found out about Fresh Shorts, and applied for that numerous times in my early 20’s. The first film of mine that the NZFC invested in was a short film called ‘Runaways’ which was funded in 2010, stars Donogh Rees and Stephen Ure, was shot on left-over 35mm film stock, and went on to play in competition at AFI Film Festival, Montreal International and other film festivals in 2012. People can watch that short here if they’re interested - https://vimeo.com/38402713
What support was available from NZFC that helped you with MIFF?
The NZFC contributed financially toward my flights, accomodation, and travel to and from airports (via the PIFT), which was incredibly useful because my company isn’t making money in overheads off short film production and feature film development - so without that financial support from the NZFC I simply would not have been able to attend the market.
What are your next steps for your project?
The production finance application for this lead feature film I was pitching, and everything that comes along with that; basically thoroughly planning how we’re going to make this film, and presenting that plan to the NZFC, along with our market attachments and their support - and then we’ll sit around for a number of weeks keeping all our fingers and toes crossed and hoping the NZFC sees the thematic value in the work, and the excellent plan we’re presenting to connect this important story with it’s audience, and that ultimately the Board funds us to make the feature film. We’re brainstorming a number of super fun and outlandish marketing stunts and ideas - additional content we want to shoot while we’re making the film, so that we can drive audiences to the cinema when we’re in our theatrical release. Ultimately we’d like the film to sell to a streamer and reach the widest audience possible there - but as I mentioned in the beginning of this interview, my inspiration for doing this mahi comes from the feeling I get when watching my films in a cinema connecting with an audience, so I’m driven to get as many bums on seats in large dark rooms in Aotearoa as possible.