Camera, action, bankroll

By VIKKI BLAND

A career in film and television was not something that Sally Campbell, head of production for South Pacific Pictures, always wanted.

"Years ago, I went with my partner to a production shoot for a feature film and on the set they had a production accountant," she says. "I was already working as an accountant. I thought, hey, I could do that."

And she was right. Campbell, is sitting in her rather utilitarian office at the Henderson, West Auckland premises of South Pacific, New Zealand's largest film and television production house, and home to the internationally acclaimed feature film Whale Rider, television series Shortland Street, Mercy Peak and Makatu; and the teen-oriented Being Eve.

Her office is crammed with brown boxes with labels such as "Mercy Peak series 2"and "Shortland Street legal delivery". On her desk sits a fat script for Sione's Wedding, a feature film under development by South Pacific.

After 13 years "off and on" with South Pacific, Campbell is now definitely on as head of production, a role she describes as the "nuts and bolts" of film and television.

"I make sure the programmes get made. That process starts in pre-production - from development to making sure a script is achievable. For example, if a scene calls for an army coming over a hill, I say well, can we do an army? I then make sure productions stay on schedule and are looking good."

And what about the perception of the film and television industry as glamorous? Does Campbell get to travel to world premieres, mingle with celebrities, break out the bubbly when a film wraps, and wear designer dresses? She's tickled by the concept.

"The industry is creative and exciting, but glamorous? No."

Campbell describes 50-hour weeks, mind-bending multi-tasking, and dealing with "many small things going wrong". But predictably, she says the challenge and pleasure in the end product make all that worthwhile.

"It can be a very hard job. It can be your life. But I go to the gym and I've taken up mountain biking and running. That helps me clear my mind at the end of the day."

Campbell says that while film and television production in New Zealand has grown increasingly professional over the past 15 years, inadequate funding remains a major frustration.

South Pacific accepts around three new projects each year, some of which are public submissions. It recently extended its repertoire to documentaries and is developing televised documentaries.

But while films such as The Lord of the Rings (locally made, internationally produced) get a huge budget, South Pacific relies on funding from the Government agency New Zealand on Air.

To get this, it must meet NZOA's stated aims - to reflect New Zealands diversity and culture - and get the buy-in of a broadcaster which will agree to air the programme.

Artistically, this sounds restrictive. So when programmes begin to pay their own way - as is the case with Shortland Street, now past its 2500th episode and airing four days a week in Britain - it's easy to imagine South Pacific relishing the prospect of working without reliance on a funding agency.

But how does the studio minimise the risk of failure when taxpayers are funding a product?

"Everything about film and television is risky in a way - is your audience going to watch it? But because each project involves a broadcaster, a funding agency, and our own development team, everything is very thought out, and [in that way] we don't take risks," says Campbell.

New Zealanders differ from international audiences in their expectations of local productions.

"New Zealand audiences have to think, 'this could really happen here'. It has to be plausible. But for American productions, they'll suspend that expectation."

So Shortland Street fans think the stuff they're watching can really happen? "Can't it?" laughs Campbell, tongue firmly in cheek. She says complaints about the sometimes controversial content of Shortland Street are at an all-time low.

"We don't sit down and think 'Who will this upset?' If you make drama you need conflict, and all the points of view are often presented."

Whatever New Zealanders think of the long-running soap, there's no denying the positive impact it has had on the jobs in the television industry. However, Shortland Street can't employ everyone.

Campbell gets frustrated by institutions that charge significantly to train industry hopefuls by the hundreds, while knowing positions are hard to come by.

"I absolutely believe that these kids can find jobs, but they may have to apply to many places and keep trying. And they'll have to come in at entry level. "

She says passion for the industry is what continues to attract people to film and television.

While technical production positions tend to be dominated by men, Campbell says a high proportion of women are in executive production and writing.

Reflecting this, a recent lunch held by Women in Film and Television (WIFT) celebrated the achievements of South Pacific's women including Campbell, Shortland Street producer Harriet Crampton, and head writer, Maxine Fleming, Whale Rider director Niki Caro, and Mercy Peak line producer Carole Pagonis and executive producer Rachel Lang.

"I think a woman's ability to multi-task is extremely valuable in this industry, as is the capacity to nurture others," says Campbell.

She insists her favourite film is Whale Rider and you tend to believe her. Others include The Matrix ("revolutionary for its time") and Crouching Tiger, Hidden Dragon. But she might not be the best person to go to the movies with.

"The story has to be very strong to distract me from pulling apart each scene and analysing it from a production point of view."

Sally Campbell's CV

* Born: Christchurch

* Age: 36

* Education: Villa Maria College, Christchurch, unfinished commerce degree, Lincoln University

* Major titles: South Pacific Pictures: Line producer and production manager, Young Hercules; co-producer and line producer, Mercy Peak, executive producer Shortland Street, Mercy Peak, Mataku, Being Eve

* Interests: Running, mountain biking, wine, cooking