Director Leanne Pooley: How I Got Started in the Industry

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I am a Film School dropout and my slow but steady trajectory from PA to Director/Producer is the classic example of working my way up from the bottom.

In the mid-eighties I was studying at one of the best TV/Film Schools in Toronto, Canada; an institution formally known as Ryerson. In my first year a Kiwi boy I’d met while traveling in the Middle East the year before turned up on my doorstep. He convinced me to take a year off (it was a 3-year programme) to come with him to NZ. I did, and I never went back.

In NZ I got a job as a production assistant at a company called Northern Television. Northern made TV commercials, broadcast programmes (drama/comedy/entertainment), and corporate videos. I was lucky to work across them all in a junior ‘do whatever is needed’ role. I worked with industry luminaries like Robin Scholes (producer), Andy Shaw (director/TV exec), John Cavill (DOP), and Brian Shaw (Editor). My boss was the extraordinary, smart, and slightly terrifying Linda (Tex) Milton. Sadly, Tex passed away a few years ago but she was a wonderful mentor who was generous with her knowledge and very supportive of my aspirations to learn as much as I could about production.

Director Leanne Pooley in Rome and Africa for BBC documentary ‘God’s Candidates’ in 1994 / Photo: Supplied

After Northern, I became a TPA (Television Producer’s Assistant) at TVNZ and spent four years there working on everything from sports to drama. I was then hired as a trainee director on a programme called First Hand; a series in which directors used new lightweight cameras (Hi-8) to make documentaries. First Hand storytellers filled all the production roles; camera, sound, editing, writing, and directing. We were the original one-person band. It was an amazing opportunity to learn under the tutelage of Richard Thomas and George Andrews; two stalwarts of the documentary genre. Doing every role meant the filmmakers came to appreciate all the components that go into a documentary. We were also faced with our own mistakes in the cutting room, a very steep learning curve indeed. First Hand was responsible for launching the careers of a number of highly successful broadcast professionals. Alan Erson went on to become Head of Documentaries at the ABC. David Ambler is a BAFTA-winning producer at the BBC, Mark McNeil runs the highly successful award-winning company Razor Films, and Peta Carey is a celebrated filmmaker and author. It was an incredible breeding ground for talent and I was very lucky to be part of the First Hand incubator.

Leanne on set for her 2013 documentary ‘Beyond the Edge’ / Photo: Supplied

In 1992 I moved to England where I was hired as a director/camera person on the acclaimed BBC series 40 Minutes helmed by the legendary documentarian Paul Watson. This was the first of many documentaries I made over the course of five years in Britain. I directed films for blue chip series including; Everyman, Omnibus, Frontline, Modern Times, and Eyewitness amongst others. My time in England solidified my position as a documentary filmmaker, I learned from the best in the business and when I returned to NZ to have my first child, I established my company SPACIFIC FILMS (25 years ago).

My trajectory has combined a little bit of study, a lot of luck, and some bloody hard work. It’s been a ride that’s for sure and I’m still with the boy who turned up in Toronto all those years ago.

About Leanne Pooley

A documentary filmmaker for over 25 years, Leanne has directed films all over the world and has won numerous awards (including Best Documentary at TIFF). Leanne is a New Zealand Arts Laureate, a member of The Academy of Motion Picture Arts and Sciences, and was named an “Officer of the New Zealand Order of Merit” for Services to Documentary Filmmaking in the 2017 New Year’s Honours List. Her work includes The Girl on the Bridge on suicide survivor and activist Jazz Thornton, We Need to Talk About A.I. for Universal Pictures and GFC, the animated feature documentary 25 April, and acclaimed local box office success Topp Twins: Untouchable Girls. Most recently, she produced Dame Valerie Adams: MORE THAN GOLD on the titular Olympic champion.

How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with admin@deganz.co.nz if you’re a member and would like to share your story.

Last updated on 8 June 2023

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DEGANZ Members Feature at NZIFF 2023

New Zealand International Film Festival (NZIFF) has announced this year’s NZ feature films, with DEGANZ members involved in half of the twelve selected.

In their announcement press release, NZIFF General Manager Sally Woodfield commented:

We’re proud to have secured such an incredible line-up of homegrown films and it’s an honour to share this world-class line-up with audiences around Aotearoa this winter.

Of the twelve features, nine are having their world premiere at the festival, including all member projects. This is one of the largest collections of world premieres NZIFF has had in years.

The Strangest of Angels

Set in the Seacliff Mental Hospital in 1945, director Rebecca Tansley (DEGANZ) offers a dramatic and moving interpretation of the contemporary opera of the same title. Inspired by the events and life of Kiwi writer Janet Frame, the film sheds light on mental health from the past and present.

The Paragon

A hit-and-run victim learns psychic abilities to reap revenge on the car that hit him. Directed by former DEGANZ board member Michael Duignan, this cosmic comedy horror embodies Kiwi ingenuity with its microbudget of $25,000. Fellow members and Incubator 2020 alumnae Jessica Grace Smith and Michelle Ang feature in the stellar cast.

King Loser

Co-directed and edited by DEGANZ member Cushla Dillon, this career-spanning documentary follows legendary 90s rock band King Loser on their 2016 farewell tour. The film offers an earnest and affectionate portrait of the band through rich archive footage and reflective present-day interviews.

Red Mole: A Romance

Annie Goldson (DEGANZ) expertly assembles archival footage, photographs, scrapbooks, posters, and stage designs of the radical theatrical troupe Red Mole in this exhilarating retrospective. Co-edited by fellow member Cushla Dillon, the documentary considered the troupe’s romantic goals, tenacious performers, and tumultuous career.

Ms Information

Filmed across two years during the pandemic, DEGANZ member Gwen Isaac‘s observational documentary dives into the trenches of microbiologist Siousxsie Wiles’ public service. While encouraging the public not to panic, Siouxsie became the target of misogynistic hate and conspiracy that threatened her professional and personal life. The film reveals a small nation under pressure, confronting a new type of leadership that excites, incites, and polarizes.

Grant Sheehan: Light, Ghosts, & Dreams

Robin Greenberg (DEGANZ) celebrates the life and art of avant-garde New Zealand photographer and publisher Grant Sheehan and his creative Artificial Intelligence (AI) explorations. Known for not confining himself to a single specialty, Grant’s career has taken him on adventures across the globe with little more than his curiosity and camera.

Congratulations to all members featured; we are excited to see your work in the festival!

Last updated on 21 June 2023

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NZIFF 2023: DEGANZ Members as NZ’s Best

The New Zealand International Film Festival (NZIFF) has announced this year’s New Zealand’s Best lineup, with DEGANZ members involved in four of the six short films selected. 

From the 81 films submitted this year, only 12 were chosen for the shortlist. Then, the final six were picked by Guest Selector Niki Caro, well-known for her film Whale Rider. She praised the projects, saying:

This selection of short films features fresh perspectives, acts of resistance, and small but powerful stories perfectly told. From a range of different voices, these films are tough and tender.

The shorts will screen during NZIFF before a jury of three selects the winners of the $7500 Best Short Film Award, the $4000 Creative New Zealand Emerging Talent Award, and the $4000 Auckland Live Spirit of The Civic Award. Additionally, audiences vote for their favourite short in which the winner takes home 25% of the total box office sales. Last year, Perianayaki, directed by DEGANZ member Bala Murali-Shingade and edited by fellow member Shailesh Prajapati, won the Creative New Zealand Emerging Talent Award, the Flicks Award for Best Short Film, and the Audience Award.

Daughter of God 

Written, directed, and co-produced by Maza White (DEGANZ), this film tells a story of an Iranian-Kiwi daughter. When forced into an arranged marriage, she must either dishonour her family or lose the love of her life.

Gate Crash 

Heightened emotions of a school ball after-party pared with deft shifts in tone, this short offers a new look into the teen genre, as put by Niki. DEGANZ member Cushla Dillon is credited as editor.

Hey Brainy Man

This avant-garde comedy, co-produced by DEGANZ member Jaimee Poipoi (Incubator 2023), acts as a performance appraisal for humankind. A group of evolutionary losers warn Homo sapiens not to f*ck up the world.

Anu 

When a 57-year old widow moves to Aotearoa from India, she’s forced to confront her grief by completing an ordinary ritual despite the extraordinary circumstances: quarantine. The drama short was written and directed by Pulkit Arora (DEGANZ) and edited by fellow member Jolin Lee (Incubator 2022).

Congratulations to the members involved; we can’t wait to see your mahi on the big screen!

Last updated on 5 July 2023

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McKenzie Chosen for Canterbury Screen Story Incubator 2023

DEGANZ member Fiona McKenzie (Incubator 2022) has been selected for this year’s Waitaha Canterbury Screen Story Incubator with her new feature film Caroline.

The Waitaha Canterbury Screen Story Incubator is a programme organised by Script to Screen and Te Puna Matarau. It aims to support filmmakers from the Canterbury region, helping them develop projects and advance their careers. 

Five teams were selected, consisting of three series, a feature film, and a narrative-driven video game. Fiona’s project is the only feature-length film selected. Participants will attend three workshops from July to September and receive advice from filmmaking practitioners regarding their project’s specific needs.

Jackie Dennis, Executive Director of Script to Screen, warmly welcomed projects for this year. She commented:

The selected projects are exciting. They include a love letter to rock music culture and the trans community, an animated family adventure, a recluse living in the Southern Alps, and two comedies – a feature set in 1975 and a series that unfolds on a road trip.

Based in Christchurch now, Fiona started as a writer and field director for TVNZ in Dunedin. Later, she moved to Auckland and trained as a Drama Director with South Pacific Pictures before going freelance. She’s directed a variety of genres and forms, including documentary, sketch comedy, drama, and multicam. Her latest short film Peninsula premiered at New York’s Tribeca Film Festival in 2021 and won the “Let’s Include” section at the Academy Award-qualifying Bengaluru International Short Film Festival, India.

We are wishing all the best for Fiona’s project!

Last updated on 28 June 2023

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DEGANZ Members Make Waves at Doc Edge Awards 2023

Congratulations to DEGANZ members Katherine McRae and Blandine Massiet du Biest for winning big at this year’s Doc Edge festival!

Katherine’s Pacific Mother won Best NZ Feature, Editing, and Cinematography, while she took home Best NZ Director. By winning the Best NZ Feature, the film now has the opportunity to qualify for consideration for the 2024 Academy Awards.

The jury commented on the film’s exploration of traditional birthing knowledge and the connection between caring for the planet and nurturing families:

This film took the judges on a beautiful cinematic journey that was hugely emotional and told an empowering conversation with indigenous women front and centre of its telling.

Meanwhile, Bladine’s directorial debut has proven successful with her Best NZ Emerging Filmmaker win. Her feature Frances Hodgkins, Anything but a Still Life also won Best New Zealand Sound. The film retraces the modernist painter’s footsteps, traversing the places she lived and worked and highlighting her dedication to her art.

Both films and two other winners of some of the festival’s key international categories received encore screenings in Auckland over the holiday weekend. The festival is now moving on to its Wellington run. Following the four award sweep, Pacific Mother’s screening and Q&A session with the filmmakers at the Roxy Cinema is sold out.

Well done, Katherine and Blandine, on the wins!

Last updated on 7 June 2023

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