Wales Rider

The Bradley Boys (now NZ producers) make an application to NZ Film Commission for some script funding. Despite having prime international cast and a hot director, we are turned down. The script needs more work - despite the fact the script is what attracted the stars in the first place...

Once again, things are looking grim. Welsh producer, David Ball, who has loved the story since the beginning, suggests to Pip Piper that if NZ doesn't want the story, it could be shot in Wales. Reluctant as I am to go down this route, it offers the chance to get the film shot. And I'm sick of the lack of support from the NZ end. So I begin redrafting the script with the strange scenario of a Maori psych patient finding himself in Cardiff.

But in one last attempt, I meet with the NZ Film Commission head of development. I tell her that in about 2 weeks time, the rights will pass to the UK and a NZ story will be lost forever. To be fair, she listens. I mention the dilemma I have to the NZ Writers Guild. They begin a little quiet agitation behind the scenes.

This is late 2007. The next thing I know I get a phone call from Tim Sanders. He's been rung by the Film Commission and asked about his involvement in the project. And the good news is, he's decided to come back on board as the NZ producer. This changes the whole scenario, and gives the Film Commission fresh confidence in the project.

We're back to setting a New Zealand film in New Zealand. Once again I'm feeling hugely upbeat about things.