1 August 2023
Ross Ozarka
Dear Ross
7 JULY 2023: OFFICIAL INFORMATION ACT REQUEST
In your email dated 7 July 2023 you requested the following information under the Official Information
Act 1982 (OIA):
1. Please send me a .zip archive of all Stage One applications submitted for 2022/2023 Kōpere
Hou – Fresh Shorts, which successfully received funding-- (as submitted through the
https://freshshorts.nzfilm.co.nz application portal). The projects I am interested in are:
Beast Mode (Chye-ling Huang and Joyce Wong) Grassroots (Aaron Ly and Isaiah Tour) Invisible
Dragons (Victoria Boult, Madison Henry-Ryan, Mikaela Ruuegg) Josephine (Stef Harris, Patsy
Burke) Mirumiru (Allan George, Jason Taylor) Tall Hours (Sophie Black, Esther Leilua)
2. For each project, I would like to see:
-Team Video Link
-Genre
-Logline
-Script
-Director’s summary
-Director’s visual inspiration images
-Producer’s summary
-Authentic representation of Tangata whenua and diversity summary -Championing diversity
and inclusion summary -Short bio & filmography for each team member
3. I would also like to know the names of the external industry assessors who made the shortlist,
an explanation of the process the assessors are told to fol ow in order to decide which Fresh
Shorts submissions projects get shortlisted and invited for Stage Two applications, and any
written judgements made by the assessors for the above projects-- i.e. why these projects were
chosen to recieve Fresh Shorts funding.
4. I would also like to know the completion status of these projects.
The New Zealand Film Commission (NZFC) is refusing
parts one and
two of your request under section
18(a) of the OIA, that there is a good reason for withholding the information. The information
requested is being withheld in ful under section 9(2)(b)(i ) to protect information where the making
available of the information would be likely unreasonably to prejudice the commercial position of the
person who supplied or who is the subject of the information.
Regarding
part three of your request, external industry assessors for Fresh Shorts are contracted by
Script to Screen, and under this contract, the identity of assessors is not made publicly available. We
are therefore withholding the names of the external industry assessors under section 9 (2)(a) of the
OIA on the basis that withholding the information is necessary to protect the privacy of natural
persons.
The NZFC is working towards making available on our website a comprehensive aggregated list of the
names of all assessors that the NZFC engages across all funding initiatives. As you can appreciate, this
process will require a substantial amount of work and take some time to complete – for example, we
wil need to consult with each individual assessor and seek their consent to be included on the publicly
available list.
The NZFC is withholding the written judgements made by the assessors for the projects mentioned
under section 9(2)(b)(ii) of the OIA, to protect information where the making available of the
information would be likely unreasonably to prejudice the commercial position of the person who
supplied or who is the subject of the information.
Please find attached at
Appendix 1, the Fresh Shorts Assessor Guide which outlines the process
assessors are to follow when assessing applications to the fund.
In response to
part four of your request, all the projects are currently in the contracting stage.
Please note that we will be publishing this letter (with your personal information removed) and
Appendix 1 on the NZFC website.
Please be aware that you have the right, by way of complaint to an Ombudsman under section 28(3)
of the OIA to seek an investigation and review of our response.
Yours sincerely
Tayla Hancock
Senior Policy Advisor
New Zealand Film Commission
Appendix 1
Kōpere Hou - Fresh Shorts Assessor Guide
Whiringa Tuatahi - Stage One Application
Kōpere Hou - Fresh Shorts identifies and nurtures the next generation of New Zealand
filmmakers.
To make it easier ‘up front’ for teams to apply we have changed the application structure to a two-
stage application process. This reading and assessment guide is for
Whiringa Tuatahi - Stage One
Whiringa Tuatahi - Stage One:
Assessment of a Team video, a written script and a short application with some summaries, no more
than 3-4 pages in total. The application provides an overall picture of story, vision and team
and helps the shortlisting assessors to get to know the filmmakers. A
shortlist of 18 teams are
recommended and invited to submit a detailed
Whiringa Tuarua - Stage Two application.
Whiringa Tuarua - Stage Two:
Assessment of a written script and detailed application about story, vision and team to help assess
scope and feasibility of projects. Up to six projects will be funded $15,000. The six teams will be be
matched with an experienced practitioner, attend one day workshops and be mentored for six
weeks to enure they are ‘shoot ready’.
The assessment criteria are the same for both stages of the Kōpere Hou - Fresh Shorts application.
Applications are for short narrative films which can be live action, animation or documentary with a
duration of 4 – 25 minutes. The purpose of the reading and assessing of
Whiringa Tuatahi - Stage
One is to identify and agree a shortlist of 18 teams. The teams will be invited to complete
Whiringa
Tuarua - Stage Two of the Kōpere Hou - Fresh Shorts application.
The focus of assessment is on applicants’ talent and their stories. The specific projects are important,
too, but the people are our focus
.This process is the start of an ongoing relationship with Script to
Screen and the New Zealand Film Commission for all who participate.
Kōpere Hou - Fresh Shorts funding takes a developmental approach. The 18 Shortlisted teams will
receive feedback, attend online Q&A sessions and be able to ask the Kōpere Hou - Fresh Shorts
Facilitiator questions about their application before submission.
Funded teams will receive feedback, be matched with an experienced practitioner, attend a two-day
workshop and be mentored for six weeks to support development of their projects to a level where
they are ‘shoot’ ready.
The NZFC endeavours to support a diverse range of project types, styles and scales.
Te Rautaki Māori
The NZFC’s commitment to Tangata Whenua under our Te Rautaki is to work in partnership with
Māori to better support the development and progression of Māori talent.
Diversity, inclusion and equality
The NZFC is committed to providing opportunities and support for women and those from a diverse
and/or underrepresented community.
Funding decisions through Kōpere Hau - Kōpere Hau - Kōpere Hou - Fresh Shorts will reflect these
commitments.
Assessors play a crucial role in this process.
Thank you.
Dates
Application deadline
Day Date Month 1pm
Assessor portal opens
Day Date Month 1pm
Assessments due
Day Date Month 9am
Selection panel meets
Day Date Month 12:30pm – 5pm
(we will let you know what time we need you closer to the date)
Funding announced
by Day Date Month 202?
Mentorign begins
Instructions
Applications, assessment forms, reading/writing guides and all other material can be found online at
t
he Script to Screen Kōpere Hou - Fresh Shorts portal.
Before starting your assessments you will need to:
• sign the Letter of Agreement and Confidentiality Agreement
• receive an email inviting you to the assessment portal, click the link and create a password
• read this document containing the Assessor Guide, Language Guide and Conflict of Interest
Guide.
What we are looking for
• fresh directorial voices with distinctive, original styles;
• fresh ideas not seen before in short film, or new and original takes on familiar ideas;
• big screen potential – story and visual ideas that will work in cinematic release;
• narrative films with impact. They could be emotional, humorous
or political, or designed to scare an audience. You should aim to
reach audiences and move them;
• films that take risks, provoke and challenge audiences; and
• films that have something to say
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Assessment Criteria
•
quality of the script;
•
the idea and strength of the project;
•
point of difference;
•
director’s voice/vision;
•
filmmaking talent involved; and
•
ability to deliver the project.
We encourage assessors to refer to this criteria list throughout reading and assessment and
recomnect to it prior to the shortlist recommendation panel.
Assessing
Each assessor will:
• Watch and score the team videos
• Read the scripts and complete the score sheet
• Read and score all summaries
• Write two summary sentence feedback notes about assigned applications
• After reading all assigned applications create a ‘Top 20’ or Top project recommendation list
• Discuss projects at the shortlist panel meeting and make recommendations
Please read, assess and score every script and proposal you are assigned, whether you recommend it
for the shortlist or not. You can read the applications online or download a PDF of each application.
However, all assessment scores, feedback and Top recommendation lists must be completed in the
online portal.
Projects are eligible to apply for Kōpere Hou - Fresh Shorts up to three times if the applicants have
made significant changes. Previous feedback letters about these projects will be supplied so you can
assess their progress.
Recommended process for each application you assess:
1. Watch the Video and read the application materials in the order they appear in the
application and complete all scoring for each section as you go.
2. Make rough offline notes (if required).
3. Write the two sentence feedback about the application.
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SCORING GUIDE
Section
Content
Score
VIDEO
One shot video with the full team answering. The video gives
1-30
insight into the heart fo the story, why the team want to tell
(1 being lowest, 30
this story and their conncection to it. Gives an insight into the
being highest)
team and how they will work together to make the proposed
film.
4 minutes (max) Vimeo link
GENRE
Genre: Identifiable types, categories, classifications. The
No Score
genre(s) chosen are appropriate for the proposed film script.
2 (max) from the list provided.
LOGLINE
The logline statement reflects the narrative ‘hook’, premise or
1-5
essential dramatic dilemma inherent in the proposed film script.
35 words (max)
SCRIPT
The script is a correctly formatted screenplay outlining what a
10 section script
reader and audience will see and hear. Uses visual imagery,
assessment
character behaviour, dialogue and sound creating a distinctive,
scoresheet:
original, compelling story of a duration between 4-25 minutes.
Score 1,2 or 3.
Lowest Total score 10.
Highest Total Score 30.
(See page 5)
TANGATA
A written summary indicating how this application will enhance
1-5
WHENUA,
diversity. And if the project involves Māori or those from an
DIVERSITY,
under-represented community including ethnically diverse,
REPRESENTATION gender diverse, LGBTQIA+, those with a disability or those from
& CONSULTAION
a diverse background how the team will collaborate. Indicates
SUMMARY
how the project promotes the authentic representation of
characters, stories, places, history and culture. And indicates
meaningful and appropriate consultation has taking place or is
planned.
300 words (max)
DIRECTOR’S
A written summary of the director’s treatment techniques
1-5
SUMMARY
indicating how they intend to bring this script or story to life as
an original, unique cinematic film. And indicates who they will
work with to achieve this.
300 words (max)
DIRECTOR’S
5 landscape format (composed horizontally) A4 high res images
1-10
VISUAL
representing beginning, middle and end of the film. These may
INSPIRATION
be found images or may be created by the director. Indicating
IMAGES
the tone, mood, or atmosphere of the film the director intends
to make. Gives a sense of the director’s visual aesthetic, or
visual ‘voice’ and helps imagine the film the drector itends to
make.
5 images in one PDF
PRODUCER’S
Written summary of how the producer proposes to realise this
1-5
SUMMARY
film and the challenges. It shows intentions, plans and
contingency for production and budget. If the film has been
previously submitted the producer indicates how the team
have further developed the story since the last application.
300 words (max)
BIO AND
Short Bio for each team member indicating skills that assist in
1-10
FILMOGRAPHY
the making of the project & list of films, music videos, TVCs (or
Given as an overall
FOR EACH TEAM
plays) etc. they have made – if they have previous projects.
score for team.
MEMBER
Bios 250 words (max)
Total possible score
100
4
Script assessment score sheet
Scripts will be assessed across the following sections and each section scored between 1 and 3
1 lowest, 3 highest = Total 30 points max
1. Genre
Does the story's meaning succeed within the genre stated?
2. Premise
Is it an original and authentic idea?
3. Conflict
Is there enough dramatic conflict
for the world of the story*?
4. Structure
Does the story create a strong dramatic narrative?
5. Character
Is there a clear character journey?
6. Stakes
Are the stakes high enough
for the world of the story*?
7. Dialogue
Does the dialogue create the illusion of reality?
8. Visual Grammar
Is the story written visually, invokes visual imagery in the readers mind?
9. Pace
Does script demonstrate tension & effectively modulate pace & mood?
10. Development
Does the story have potential for further development?
*
World of the story – some films are nuanced and very subtle. Dramtic tension, conflict and stakes might be finely-drawn,
or less obvious but relevant to the story being told. Sometimes these films do not read dramatically on the page but can be
realised through the director’s treatment of the material.
Notes and considerations
Your role is to write about what you observe and experience, then describe that observation
ensuring that your tone and language are positive and constructive. Refer to t
he Language
Guide when writing comments. Online notes are public documents that can be retrieved as part of
an Official Information Act request.
Be aware of your own biases (gender or cultural) and taste preferences. If a script, project or genre
doesn’t appeal to you personally that doesn’t necessarily mean it’s not a good project or proposal.
Your notes may be incorporated into feedback letters
or form the basis for feedback conversations
conducted by the Kōpere Hou - Fresh Shorts Facilitator with the shortlisted teams.
Don’t be concerned if two sentences seems ‘too short’. Remember all readers are writing these so
collectively they give the Kōpere Hou - Fresh Shorts Facilitator a sense of commonalities. It is helpful
that you write a full sentence not just a couple of words.
Write two summary sentences:
1. On Target: Could cover aspects of the script and proposal that are working well and what
you like about the script/story, proposal and team.
2. Develop Further: Could cover parts of the script and proposal that are unclear or could
benefit from further development? Or what aspects of the application create questions in
your mind? Or the skills the team could develop.
Although you are only required to write two summary feedback notes much thinking will inform
your recommendations for shortlisting and your Top 20. When reading it can be useful to think
about the considerations below.
Considerations
• Do the team have a clear connection to the story they want to tell? Have they worked
together before? Does the team appear to know how they will realise this film together?
• Does the genre(s) indicated match the story in the script? Does the logline reflect the story?
• Is the story fresh and original? What is the unique point of difference? Does the story take
risks? Have a clear POV? Is the script emotionally engaging? Is it visually written so you can
imagine it?
5
• Does the teams Tangata whenua, diversity, representation and consultation summary show
how their project will enhance diversity? Is there an indication of how the team are
collaborating and consulting to ensure authentic representation? Have the team
endeavoured to undertake appropriate consultation about their story, characters and their
approach? Or show their plans and intentions.
• Does the Director’s Summary provide a sense of how they intend to realise the story e.g.
what it will look like, sound like and feel like? And how might they work with others?
• Does the Directors’ Inspiration Imagery give a sense of style and aesthetic of the story they
intend to tell? Does it help imagine the story? Is there a
cohesion or sense of visual ‘voice’ in
the choice of imagery? A consistency of style?
• Does the Producer’s Summary outline how this film can be made for the budget? Does it
indicate how they intend to address challenges? Are appropriate plans and contingencies
stated?
• Do the Team Bios indicate they have the level of experience to realise the film they are
putting forward for funding?
Tips
Enter notes as you go. Some assessors like to jot uncensored notes on paper first and then enter
more refined comments in the online form. We suggest you do offline notes and then complete the
refined online notes
immediately afterwards.
Don’t leave entering more refined versions of your notes until later as a ‘batch’. Fatigue will
inevitably set in and it’s likely you won’t get back to them. Achieve completion – not perfection.
Complete all work on a single application before going on to the next one. If you skip between
applications it can get really confusing!
Plan your reading. As much as you can allow yourself regular time to read and complete
assessments. It is very hard to cram reading and assessment due to concentration fatigue. Do a few
and see how long it takes you, then do a realistic estimate. If you do fall behind please let the Kōpere
Hou - Fresh Shorts Facilitator know so they can assign reading to other readers. There is no
judgement!
Get some feedback on your assessment process. If you’re new to reading and assessment, read a
few and then disucss your process with the Kōpere Hou - Fresh Shorts Facilitator and make sure
you’re confident about what you’re doing. The FSF is there to support you.
Ranking - top choices for shortlisting
You may want to re-read the assessment criteria before you make your recommendation list.
And you may want to collate this list as you go and then recalibrate and adjust at the end of your
reading. Or you may want to do it once you’ve completed reading all applications.
Which ever way you choose, prepare a ranked list of your Top 20 projects prior to the shortlisting
panel meeting. One being the highest ranking and 20 being the lowest.
If you are reading a specific smaller group of projects rank those projects by top choices of projects
from one to the total number of projects e.g. 1-9. One being the highest
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The list is to be collected by the Kōpere Hou - Fresh Shorts Facilitator on the Day Date of Month
time.
This ranking will be done by evaluating your assessment of the script, the summaries and the and
the team and their ability to deliver the project as indicated in the
assessment criteria guidelines.
This is not an exact science. Call on your experience and right brain thinking; bring in your intuition.
There may be teams that do not score hugely on script but are talented ‘diamonds in the rough’.
Remember not all films can be funded.
Catch Ups
The Kōpere Hou - Fresh Shorts Facilitator is there to support you. We’ll check in from time to time to
see how you’re doing. Please call if you have questions. If you’re falling behind let us know so we can
help.
Miriam Smith 64 9 360 5400 | +64 xxxxxxxxx
LANGUAGE GUIDELINES
Language is especially important in written feedback, particularly for new and emerging filmmakers
who may not be used to receiving critiques of their work.
Some of your notes may be seen by the applicant, so we ask that you write in a positive or neutral,
objective style that communicates your points concisely and avoids giving advice.
When writing your feedback please follow these general rules:
• Maintain an objective tone by using the third person. Avoid using “I” and don’t address the
writer as “you”. It’s generally more helpful to refer to team members by their roles (writer,
producer, director) than by their names.
• Refrain from being prescriptive or offering specific advice about how the writer, director or
producer should fix a problem. Allow them to find their own solutions.
• Asking open questions can be a useful way to point out areas that need work by asking
what,
how, where or
who. For example: “What would happen if the story was explored from the child’s
POV?” or “How could the writer increase tension and suspense?”.
• Use positive and constructive language where possible. Try to avoid adverbs like
extremely, very,
poorly or judgmental words like
boring, weak, dull. “The opening could more active and
exciting,” is likely to be received better than, “The opening is boring.”
• Avoid the use of words such as
needs to, must, should, ought, and has to. Instead use
alternatives such as
could, might and
perhaps e.g. “the writer could explore how to increase
dramatic conflict in the story” – leaving it as a choice for the recipient of the feedback.
• Write in the present tense – the script and proposal is a work-in-progress and the present tense
keeps the process alive.
• Proof read your notes to check for spelling mistakes, typos and grammatical errors, and spell
place names and characters correctly if they are used.
• Remember that witticism and sarcasm, though sometimes hard to resist, are not useful and may
tend to make the recipient defensive!
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CONFLICT OF INTEREST GUIDELINES
The purpose of these guidelines is to ensure the integrity and consistency of an open and
transparent assessment process by defining conflict of interest and providing guidance in identifying
actual, potential or perceived conflicts of interest for Script to Screen readers, assessors and
selectors (Panel Member).
Generally, a conflict of interest is a situation in which a Panel Member has a competing personal,
professional or financial interest that could have an actual, potential or perceived effect on that
person’s ability to fulfil his or her responsibilities in an objective and independent manner.
Script to Screen Panel Members are required to be independent, impartial experts with the
responsibility for providing rigorous, independent assessment of the applications.
In the Kōpere Hou - Fresh Shorts Application Portal, Panel Members must declare if there is a
Conflict of Interest before being able to access each application.
To establish if you have any actual, potential or perceived conflicts of interest answer the following
questions with
Yes, Potentially or
No:
• Do you have a personal interest in the project or filmmaker, or stand to gain in any way if
the application is successful?
• Do you have any personal obligations, loyalties or bias that could influence your evaluation
of the application?
• Are you aware of anything that could give the appearance that you might be biased towards
a project or filmmaker?
If you have answered
Yes to any of the above questions you cannot assess the application or take
part in deliberations including decision-making in relation to the application with the conflict of
interest.
If you have answered
Potentially to any of the above questions, please provide details to the Kōpere
Hou - Fresh Shorts Facilitator so the Facilitator can make a decision about the conflict of interest and
if it precludes you from assessing the application.
If you have answered
No to the above questions you can assess the application.
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Document Outline
