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Otago Daily Times
7 days ago
- Entertainment
- Otago Daily Times
Chair of Film Otago Southland seeks to modernise
Scenery alone is not enough, the region's latest screen champion says. Recently appointed Film Otago Southland chairman George Dawes has said pairing dramatic locations with local talent and facilities will keep the region on the global production map. As the owner of a Dunedin video company, he brings both practical and artistic knowledge to the role. Film Otago Southland, a non-profit trust funded by southern councils and the Southern Institute of Technology, links productions with local crews and facilities, provides advice on film permits and permissions as well as advocating for film-friendly policies and legislation. It covers a wide region across Queenstown Lakes, Dunedin, Southland, Central Otago, Waitaki and Clutha. These regions continue to attract productions ranging from international features to television commercials. Oscar-winning drama The Power of the Dog beautifully captured Central Otago's stark landscapes. Dunedin and Oamaru hosted Netflix romance The Royal Treatment , local coming-of-age comedy Uproar filmed in Dunedin, while Brad Pitt's Heart of the Beast was based in Queenstown. While international titles grab headlines, the trust aimed to grow domestic production. International shoots must hire New Zealanders, so building local capacity benefits both sides. Productions needed to satisfy Immigration New Zealand requirements and show they were using local crews. "Immigration [New Zealand] won't just give out visas for everyone just because they are coming for a film. "There has to be opportunities for New Zealanders." Three aspects the trust aimed to promote were world-class locations, world-class crew and world-class facilities. One of the challenges in the South was having options to move indoors when bad weather prevented exterior shoots. There had been several facility investment proposals in recent years such as the Ayrburn film precinct development near Arrowtown and the proposed Silverlight Studios near Wānaka. "We take a view that any investment in screen capacity is good and we would support any developer that can get it over the line." Simplifying the permit process remains a key challenge. Film Otago Southland connects productions with the Department of Conservation (Doc), Land Information New Zealand and local councils. It also advises on gaining access to privately owned land. "Sometimes it is just knowing who the landowner is and knowing which locations are accessible." The government is reviewing proposals to modernise concessions, including filming permits managed by Doc. Updated concession rules could better reflect modern filming trends, including lighter camera gear and the use of drones instead of helicopters. "A lot of Doc's processes are set in legislation, so the timeframes around concessions processing and the notification periods are set. "I think what we would really like to see is a modernisation of the permitting process." The footprint of film production has shrunk over the past 20 years thanks to technology and innovation, but the permitting process does not yet reflect that reduced impact. For example, the permitting rules do not clearly distinguish between crew sizes, from "micro" to small or medium teams. "I suspect we will get there. Doc has been really good at doing what they can to support film." Film Otago Southland also supported the Southern Film Collective with funding. "That is a group that is focused on growing the creation of content and IP in the lower South Island. "So it is producers, writers, directors trying to work together to grow the industry." While the trust remained focused on attracting overseas projects, it also wanted to foster productions created locally. "They have a benefit wider than just a film crew that comes into town for a period of however long. "So while that is all really important, we want to see that other part of the industry develop as well."
Otago Daily Times
09-07-2025
- Entertainment
- Otago Daily Times
Chair of Film Otago seeks to modernise
Scenery alone is not enough, the region's latest screen champion says. Recently appointed Film Otago Southland chairman George Dawes has said pairing dramatic locations with local talent and facilities will keep the region on the global production map. As the owner of a Dunedin video company, he brings both practical and artistic knowledge to the role. Film Otago Southland, a non-profit trust funded by southern councils and the Southern Institute of Technology, links productions with local crews and facilities, provides advice on film permits and permissions as well as advocating for film-friendly policies and legislation. It covers a wide region across Queenstown Lakes, Dunedin, Southland, Central Otago, Waitaki and Clutha. These regions continue to attract productions ranging from international features to television commercials. Oscar-winning drama The Power of the Dog beautifully captured Central Otago's stark landscapes. Dunedin and Oamaru hosted Netflix romance The Royal Treatment , local coming-of-age comedy Uproar filmed in Dunedin, while Brad Pitt's Heart of the Beast was based in Queenstown. While international titles grab headlines, the trust aimed to grow domestic production. International shoots must hire New Zealanders, so building local capacity benefits both sides. Productions needed to satisfy Immigration New Zealand requirements and show they were using local crews. "Immigration [New Zealand] won't just give out visas for everyone just because they are coming for a film. "There has to be opportunities for New Zealanders." Three aspects the trust aimed to promote were world-class locations, world-class crew and world-class facilities. One of the challenges in the South was having options to move indoors when bad weather prevented exterior shoots. There had been several facility investment proposals in recent years such as the Ayrburn film precinct development near Arrowtown and the proposed Silverlight Studios near Wānaka. "We take a view that any investment in screen capacity is good and we would support any developer that can get it over the line." Simplifying the permit process remains a key challenge. Film Otago Southland connects productions with the Department of Conservation (Doc), Land Information New Zealand and local councils. It also advises on gaining access to privately owned land. "Sometimes it is just knowing who the landowner is and knowing which locations are accessible." The government is reviewing proposals to modernise concessions, including filming permits managed by Doc. Updated concession rules could better reflect modern filming trends, including lighter camera gear and the use of drones instead of helicopters. "A lot of Doc's processes are set in legislation, so the timeframes around concessions processing and the notification periods are set. "I think what we would really like to see is a modernisation of the permitting process." The footprint of film production has shrunk over the past 20 years thanks to technology and innovation, but the permitting process does not yet reflect that reduced impact. For example, the permitting rules do not clearly distinguish between crew sizes, from "micro" to small or medium teams. "I suspect we will get there. Doc has been really good at doing what they can to support film." Film Otago Southland also supported the Southern Film Collective with funding. "That is a group that is focused on growing the creation of content and IP in the lower South Island. "So it is producers, writers, directors trying to work together to grow the industry." While the trust remained focused on attracting overseas projects, it also wanted to foster productions created locally. "They have a benefit wider than just a film crew that comes into town for a period of however long. "So while that is all really important, we want to see that other part of the industry develop as well."
The Guardian
16-03-2025
- Entertainment
- The Guardian
Uproar review – shimmering premieres showcase the dynamism of Welsh new music ensemble
In the context of a diminishing Welsh landscape – about which there needs to be a concerted uproar – the success of Wales's new music ensemble, which happens to call itself Uproar, is all the more important. Under conductor and artistic director Michael Rafferty, their presentation of György Ligeti's Chamber Concerto – a piece described by the composer as one for 13 concertante soloists – underlined just what a dynamic force they have become. Their programme opened with Hrím, written by Anna Thorvaldsdottir as a companion piece to the Ligeti: it unfolded with Thorvaldsdottir's customary poise, its crystalline textures comparable to the hoarfrost of the old Icelandic title, the celeste giving glistening touches. By contrast, Floating Theatre by Kiko Liteng Shao, the first of three premieres by Welsh or Wales-based composers, was inspired by the ebb and flow of waves and her perception of the musicality of water. Chinese cymbals were among the percussion instruments sharpening the palette, with the greatest theatricality coming in the last section where the audience, using their mobile phones, added the sounds of birds. This final aerial dimension permitted the piece its necessary lift. David John Roche's Harm Reduction was buoyant and energetic, indulging memories of his own rock and metal beginnings, with Ben Smith's piano solos emerging from the melee – at first slightly Elton John and later just schmaltzy, helping to convey unselfconscious hedonism. Imagin'd Games by Ashley John Long, the ensemble's double bassist, revisited the Iron Age hill fort that was his childhood stamping ground. Reflecting on time and history, it was fluent and had moments of strange beauty. Ligeti's concerto – getting its Welsh premiere, as was the Thorvaldsdottir – was the culminating glory of this concert. The fluttering, fluctuating shimmer of its opening established the aura that makes this a seminal work of the later part of the 20th century. The quiet vibrancy of the second movement, its flurry of urgency then returning to stillness, achieved another mesmerising atmosphere, with the precision and brilliance of the last two movements setting the seal on a fine performance. Ligeti's instrumentation somehow managed to sound densely fabricated yet translucent, all expressively realised, the clarity of the Dora Stoutzker hall's acoustic allowing the Uproar players' virtuosity to be heard and warmly appreciated. At Soar theatre, Merthyr Tydfil, on 22 March, and Rhosygilwen, Cilgerran, on 23 March
Yahoo
17-02-2025
- Entertainment
- Yahoo
Lil Wayne Recruits The Roots for Singles Medley on ‘SNL50' Special
Lil Wayne has joined the eclectic roster of musical guests to share a career-spanning singles medley on Sunday night's (Feb. 16) SNL50: The Anniversary Special. Wayne was joined by The Roots and DJ T. Lewis for his performance, which opened with 2018 single Uproar, and saw Weezy run through other tunes from his Tha Carter series of albums, including his lone Billboard Hot 100 chart-topper as a solo artist 'Lollipop', followed by '6 Foot 7 Foot' and 'Mrs. Officer'. More from Billboard DJ Cassidy's 'Pass The Mic Live!' Brings Bay Area Flair to NBA All-Star Game Halftime Show Starring E-40, Saweetie, Too Short & En Vogue Adam Sandler Boils Down 50 Years of 'SNL' Into a Perfectly Sweet Song: Watch the 'SNL50' Moment Lizzo and SZA Almost Formed a Rock Band Called Pussy Lasers The lion's share of the set was devoted to closer 'A Milli', which currently serves as Wayne's standard set-closer, almost 17 years since it was first released. His non-musical contributions to the SNL50 appearance were limited, with the musician closing out his set with a simple, 'Thank you, happy 50th'. This performance also marks Wayne's fourth time appearing on a Saturday Night Live broadcast as a musical guest, having first made his debut back in 2008 as part of season 34 opening episode. Featuring Olympic swimmer Michael Phelps on hosting duties, Wayne performed 'Got Money' and 'Lollipop' during that initial appearance. Two years later, he appeared with Eminem and also shared a solo performance of '6 Foot 7 Foot', in an episode which saw Jeff Bridges as host. Wayne would return again in 2018 to appear in a Liev Schreiber-hosted episode where he performed 'Can't Be Broken' with Halsey and 'Uproar' with Swizz Beatz. Earlier this month, Lil Wayne confirmed that he would be releasing his highly-anticipated Tha Carter VI album on June 6, announcing the news as part of an ad for Cetaphil. The third, fourth and fifth installments of Tha Carter each topped the Billboard 200 and the Drake-assisted 'She Will' has had a second life vaulting the 2011 track to top the TikTok Billboard Top 50 on the Feb. 8-dated tally. SNL50: The Anniversary Special is airing Sunday night, following Friday's SNL50: The Homecoming Concert on Friday night. Best of Billboard Kelly Clarkson, Michael Buble, Pentatonix & Train Will Bring Their Holiday Hits to iHeart Christmas Concert Fox Plans NFT Debut With $20 'Masked Singer' Collectibles 14 Things That Changed (or Didn't) at Farm Aid 2021
