February 22, 2025 • 15 mins
Samoan-born Miki Magasiva is set to release his first feature directorial debut in the coming days.
Magasiva made a name for himself crafting short films and commericials - and his work on miniseries The Panthers won him a best director award at the 2022 New Zealand Television Awards.
His new feature film, Tinā tells the story of a Samoan teacher working at a private school while struggling with the death of her daughter.
"I love humour - and I wanted to do an emotional story when I set out to do it, so I'm just stoked."
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Episode Transcript
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Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News talks'b Now.
Speaker 2 (00:13):
Every so often you come across a film that is
incredibly special, one that makes you cry and laugh and
equal measures and sticks with you long after you leave
the cinema. One of these films is releasing this week.
It's by debut feature director Mickey Mega Siva and the
film is called Tina, a story about a mother struggling
with the loss of her daughter. What is this? There
(00:36):
are a bunch of spoiled, rich kids that have everything
they could ever want. You don't know them. You can't
just throw some Sunday school group together us and say, comeboy.
Speaker 3 (00:44):
Are you felt that I could give these kids something?
This is that something? I want you to promise me
that you will not stop seeing. Focus on the breadths
around you. The space between us connects us to our choir,
our family, to our community. She's not gone. I see
(01:09):
her in every year.
Speaker 4 (01:11):
Talk.
Speaker 2 (01:16):
Oh my gosh, it's bringing back the tears. And the
man behind the film is with me, Mickey Magazeva. It's
lovely to see you. Thank you so much for coming in,
especially on your birthday. Happy birthday.
Speaker 4 (01:25):
Thank you very much, Thank you very much. Yes, the
big for eight I believe today for the yep, getting on,
getting on closer to fifty now, so thank you.
Speaker 2 (01:35):
Thank you for bringing that up. This film is extraordinary.
It is an extraordinary effort for a debut feature. Is
it everything you wanted it to be?
Speaker 4 (01:46):
Yeah? I think it is. I think when you are
a creative, you're never going to be one hundred percent
happy with anything that you do. But having been through
the process now, having released it out to a few
people and seeing their reactions, their positive reactions to the film,
we're really stoked with where we've got to now and
I can't wait to release.
Speaker 2 (02:07):
It because how big a jump is it to go
from making commercials and short films to a feature film.
Speaker 4 (02:13):
I didn't think it would be that big if I
were out, if I were honest, but it has been
a massive, massive learning experience. Look, when you're on set,
all of those things are still the same when you're
working with actors. Of you know, grown up with actors,
so collaborating with them has always been second nature to me.
(02:33):
But the sort of behind the scenes required to get
something like this up and running was massive and something
that I hadn't expected.
Speaker 2 (02:44):
Because you took on everything. I mean, you wrote this,
you produced this, you directed it. It really is your baby.
Speaker 4 (02:49):
That is.
Speaker 2 (02:51):
There's a lot going on all at once, isn't it.
Speaker 4 (02:53):
It is? Yep, took on way too much for sure.
But I felt like, how as you've mentioned having done
commercials and having done short films and all those other
platforms before I got to the stage where I just
felt like I needed to do that to get it
off the ground. I didn't feel like I had a choice.
(03:15):
And you know, like you say, it's my birthday today,
it felt like I'm getting a little bit older, and
it has always been my dream to do the feature film,
and I just didn't feel like I was getting any
closer to it. So I didn't feel like I had
a choice. I just felt like I had to do
it and take on all those roles in order to
get it off the ground.
Speaker 2 (03:34):
It's been a lifelong dream, hasn't it.
Speaker 4 (03:36):
Yeah? It really has cheap as twenty years now being
a director and thirty years since I left school and
dreamed of doing it. So getting this far and getting
to this stage is pretty big moment for me.
Speaker 2 (03:54):
Because it's brutal. It's brutal being a filmmaker.
Speaker 4 (03:58):
Yeah, it's really hard. The lines on my face will
attest to that. It is really brutal. It takes a lot,
It takes a team to get behind you. And thankfully
I have a couple of great producers with me. Dan
Higgins is our lead producer, and Mario and Awa and
without those guys, I wouldn't have been able to do it.
(04:20):
So to have them there with us, with me along
the way, has, you know, made that journey a little
bit easier. But yes, very difficult.
Speaker 2 (04:30):
I think you achieved something which is actually very hard
to nail. The film is like this perfect mix of
heartbreak and humor. There are these very heavy themes in
the film, but then you give us this opportunity to
kind of breathe again, to have a laugh and a
lot of laughs. That's really hard to get that balance, right.
Did you have to work at that when you were
(04:52):
writing this film?
Speaker 4 (04:54):
Thank you for that. No, it's nice to get that
reaction from people. I feel like it's just a natural
part of what it is to be someone to navigate
those two things, grief with a bit of humor. I
think a lot of Sarmon's and Pacific Islanders deal with
their grief through humor. It's certainly something that I experienced
(05:18):
in my own life, going through trauma but also dealing
in a way that's humorous. I just think it's a
part of who I am. I'm not sure if I
tried to do it. I just think it's a part
of me, and it just came out naturally. I love humor,
and I wanted to do an emotional story when I
set out to do it. So just stope that we've
(05:41):
had people in the theaters now reacting to both of
those things. Oh, laughing and crying, hopefully emotional.
Speaker 2 (05:50):
Oh my goodness. Somebody said to me as I headed
into that, I hope you've got a lot of tissues.
I went, yeah, and I've got some tissues in the bag.
You know, about the same amount that I take to
most films. Wasn't enough. It was not enough. And do
you know one of the things I loved about I
went to a screening. It was filled with peaceeople who'd
come to see this film and who really wanted to
be there, and it reminded me why I love going
(06:12):
to a cinema. We had this collective experience together. We
were all laughing and crying and it it's an extraordinary
experience when that happens. We were all in there together,
just having this moment. But man, we cried.
Speaker 4 (06:27):
Oh yeah, yeah, yeah. It didn't hold back there you
doing to hold back there? No, I'm really glad you
said that, because you know, going to the movies has
been an important part of my life growing up as
a filmmaker, growing up, so to get into that shared
space again, and you're absolutely right. This is a film
that requires people to get into the theaters together and
(06:49):
go through that journey together and laugh and cry together.
I have a couple of friends who who went and
saw it and went through the same experience as you.
They didn't take enough tissues and they had to share
their tissues.
Speaker 2 (07:01):
They were saying they have been passed down there as
yeah ten. It is set in christ Which around the
time and post the twenty eleven earthquakes. What drew you
to that setting?
Speaker 4 (07:13):
I'm being a Wellington boy boy and then an Auckland boy.
But I think Dan Higgins, who's our lead producer, he
grew up in christ Church and when I pitched the story,
it was actually based in Auckland to begin with, because
that's where the choir who inspired the whole thing are from.
They're from up here in Auckland. But Dan read the
first drafts or first treatment, and he said, look, I
(07:36):
think this would actually suit christ Church. So I did
a bit of research into christ Church and lo and behold,
it just seemed to fit there much better that fit
in any other location. And then when we managed to
kind of unlock setting in and around the earthquakes there,
that just opened us up to a broader story and
(07:57):
more emotional story that we were after. So I'm going
to tribute that one to Dan Higgins.
Speaker 2 (08:02):
Right, Mickey, you paid tribute to your brother poor at
the end of this film, and you lost him not
too long ago. A lot of this film is about
trauma and grief, and I couldn't help but think how
your experience must have informed the script.
Speaker 4 (08:18):
Yeah. Absolutely, I wrote the script right in the middle
of that period. I've said this a few times now
that whilst I was writing the script, I must have
cried for three years writing it. And I'm not even joking. It's,
you know, seriously going through all of the emotions that
hopefully audiences will go through as well, whilst I was
(08:39):
writing it, whilst I was writing those emotional scenes, going
through that time remembering him. So I like to think
that he, you know, drove a lot of that emotion,
A lot of that emotion went down on paper, and
then you know, has translated itself up to the big
screen there. So yeah, maybe due to him. Actually you
could feel it, Yeah, I hope, So, I hope. So
(09:01):
it was a real emotional experience writing it and so
and in fact, going throughout the entire process, and once
people started coming on board and reading the script and
knowing both of us and knowing our family, they could
also feel it. And so it became a thing where
they came on board and they were a bit more
(09:22):
emotionally invested in making the story. And so I think
a lot of that, all of that has ended up
on the screen. So I'm super stoked about that.
Speaker 2 (09:30):
Actually, No, it's absolutely beautiful. Annapalla is an extraordinary talent.
Of course, she's an award winning, well recognized actress and
writer working in theater and things like that. Did you
write this part for her?
Speaker 4 (09:46):
Yes, I did, although I didn't tell her I wrote
it for her initially. I've told this story before, but
I said to her, Hey, can you come on read
my script. I just need help with this character. And
so she read it and we got together and we
worked on the character and then eventually I said, oh yeah,
(10:07):
and by the way, I want you to play it too,
So she came on board. She came on board willingly,
but I did. I wrote it with her in mind.
She's the only one that I really had in mind
to play. We didn't offer the role to anybody else.
It was just for her. She helped develop it as well,
and so a lot of the gags in the in
(10:29):
the film are her gags. And a lot of people say, oh,
you've got her to do quite male things in this
AKA make her students exercise, and I go, I didn't
make that up. She said, I think I should make
these students exercise so.
Speaker 2 (10:45):
A lot, and it's brilliant. No, it's brilliant. And I
did wonder a little bit with that humor. I'm sure
you know, I was thinking, I'm obviously irresponsible for a
lot of it, but the cast is so fabulous. I
wondered just whether you know, in the moment, there was
a lot that happened that the cast brought to the
table as well.
Speaker 4 (11:01):
It was so fun. Yeah, it was so much fun.
We've got a lot of great young talent cast in
there as well, and we just had a ball shooting
with them. I think they really got into it and
embraced it and went with the comedy. And comedy is
so fun to do anyway. Bows is great at it.
Bueller's on there, He's hilarious. I've got a lot of
(11:23):
friends that are in this movie who aren't actors who
have come on board are absolutely hilarious. So a lot
of fun shooting it.
Speaker 2 (11:34):
And how wonderful. How good is the music in this film?
How wonderful is it to sort of celebrate a choir.
You know, it's not a form of performance that kind
of get spoken about a lot. Really, does it get
its Jews?
Speaker 4 (11:49):
Yeah, no, absolutely not, and it should. And the choir
community is massive here, so I am really proud that
we're able to showcase choir and choral music in that way.
I think we'll find a lot of them come out
of the woodworks, because certainly, when I was pitching this
out to a lot of people, almost everybody knew somebody
(12:10):
that was in choir and in choral music, so or
had done choral music before. So yeah, a large part
of it was the music. I'm stoked because the music
is also a genuine character in this movie. There's a
lot of things that are tied into the story that's
come from the music. Obviously, someone church music has always
(12:32):
been a strong part of our culture, so to infuse
that with Simon church music choral music locally, We've got
a couple of great songs, you know, classic New Zealand
songs in there, and have that all be a part
of this story. It just helped it while you saw.
Speaker 2 (12:49):
It, so yeah, no, it gives it great energy and things.
You had a lot to actually pull together, didn't you. Yeah,
music and performance, all sorts of things going on.
Speaker 4 (13:00):
Yeah, I thought it was going to be heaps easier
than it turned out to be for sure. Yep. Yeah,
took on too much. But that's part of the fun,
isn't it. And also, even though it was tricky and
hard to get all of those elements together, once you
finally get to the other side of it, and we're
on the other side of it now I'm about to
release it, it all works and helps to tell the story.
(13:21):
And I think you I think I hope audiences will
really feel that when.
Speaker 2 (13:26):
They're Oh, they absolutely feel I don't think there'll be
any doubt about that. What do you love about storytelling?
Why is it important to you?
Speaker 4 (13:33):
I think most of the things that I love about
storytelling is to be able to give audiences an experience
that is enjoyable. I don't make movies for myself. I
like I make movies for audiences. And so to get
back the you know, the feedback we've got so far
(13:54):
has been so positive and amazing, and each and every
bit of feedback that we've got has just made me
extremely happy. And that's that's why I do it, you know.
I mean, being a creative has always just been a
part of it of who I am as a person.
But when you're going through the grind and you're in
the trenches, it's often hard to see the you know,
(14:14):
the the enjoyable moments of it. And it's not until
you finish the thing and then people come up to
you tears in their eyes, or they come up to
you and say, you know, they laugh their way through it.
That's probably what gives me the biggest joy.
Speaker 2 (14:30):
So maybe you've got another seven years and you're to
pull another project, like you say, as you say, it's
kind of it's this huge thing and it takes up
so much part of your life and then it's out
there and you are, okay, oh yeah, maybe I could
do that again. That's all, you know.
Speaker 4 (14:45):
I mean, I'd love to do it again. But maybe
we could cheat a little bit and just tell life
that we started five years ago, we've already started.
Speaker 2 (14:52):
Oh maybe, yeah, get your producers on. Maybe you just
handle the writing and the directing, and that's that. I mean.
It's so good to see these Pacifica stories told by
Pacifica filmmakers on screen, isn't it?
Speaker 4 (15:02):
You know? I think it's one of the one of
the things I'm proudest about is to be able to
add to that what is a relatively short time period
of Pacifica filmmakers and films. So to be able to
be one of those now and hopefully add to that
journey is just, you know, just another thing that will celebrate.
Speaker 2 (15:25):
It's a beautiful film. I think it's I think it's
going to become a key classic. Everyone needs to go
and see it. Take a lot of tissues, take tissues,
have a good laugh, just have a moment and be together,
just one mom and.
Speaker 4 (15:37):
Dad and take your family. I'm sure everybody will enjoy it.
Speaker 2 (15:40):
I hope you do, at least enjoy the rest of
your birthday.
Speaker 4 (15:42):
Thank you very much.
Speaker 2 (15:44):
Tina is in cinemas this Thursday.
Speaker 1 (15:47):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks it'd be from nine am Sunday,
or follow the podcast on iHeartRadio.
You're listening to the Sunday Session podcast with Francesca Rudkin
from News talks'b Now.
Speaker 2 (00:13):
Every so often you come across a film that is
incredibly special, one that makes you cry and laugh and
equal measures and sticks with you long after you leave
the cinema. One of these films is releasing this week.
It's by debut feature director Mickey Mega Siva and the
film is called Tina, a story about a mother struggling
with the loss of her daughter. What is this? There
(00:36):
are a bunch of spoiled, rich kids that have everything
they could ever want. You don't know them. You can't
just throw some Sunday school group together us and say, comeboy.
Speaker 3 (00:44):
Are you felt that I could give these kids something?
This is that something? I want you to promise me
that you will not stop seeing. Focus on the breadths
around you. The space between us connects us to our choir,
our family, to our community. She's not gone. I see
(01:09):
her in every year.
Speaker 4 (01:11):
Talk.
Speaker 2 (01:16):
Oh my gosh, it's bringing back the tears. And the
man behind the film is with me, Mickey Magazeva. It's
lovely to see you. Thank you so much for coming in,
especially on your birthday. Happy birthday.
Speaker 4 (01:25):
Thank you very much, Thank you very much. Yes, the
big for eight I believe today for the yep, getting on,
getting on closer to fifty now, so thank you.
Speaker 2 (01:35):
Thank you for bringing that up. This film is extraordinary.
It is an extraordinary effort for a debut feature. Is
it everything you wanted it to be?
Speaker 4 (01:46):
Yeah? I think it is. I think when you are
a creative, you're never going to be one hundred percent
happy with anything that you do. But having been through
the process now, having released it out to a few
people and seeing their reactions, their positive reactions to the film,
we're really stoked with where we've got to now and
I can't wait to release.
Speaker 2 (02:07):
It because how big a jump is it to go
from making commercials and short films to a feature film.
Speaker 4 (02:13):
I didn't think it would be that big if I
were out, if I were honest, but it has been
a massive, massive learning experience. Look, when you're on set,
all of those things are still the same when you're
working with actors. Of you know, grown up with actors,
so collaborating with them has always been second nature to me.
(02:33):
But the sort of behind the scenes required to get
something like this up and running was massive and something
that I hadn't expected.
Speaker 2 (02:44):
Because you took on everything. I mean, you wrote this,
you produced this, you directed it. It really is your baby.
Speaker 4 (02:49):
That is.
Speaker 2 (02:51):
There's a lot going on all at once, isn't it.
Speaker 4 (02:53):
It is? Yep, took on way too much for sure.
But I felt like, how as you've mentioned having done
commercials and having done short films and all those other
platforms before I got to the stage where I just
felt like I needed to do that to get it
off the ground. I didn't feel like I had a choice.
(03:15):
And you know, like you say, it's my birthday today,
it felt like I'm getting a little bit older, and
it has always been my dream to do the feature film,
and I just didn't feel like I was getting any
closer to it. So I didn't feel like I had
a choice. I just felt like I had to do
it and take on all those roles in order to
get it off the ground.
Speaker 2 (03:34):
It's been a lifelong dream, hasn't it.
Speaker 4 (03:36):
Yeah? It really has cheap as twenty years now being
a director and thirty years since I left school and
dreamed of doing it. So getting this far and getting
to this stage is pretty big moment for me.
Speaker 2 (03:54):
Because it's brutal. It's brutal being a filmmaker.
Speaker 4 (03:58):
Yeah, it's really hard. The lines on my face will
attest to that. It is really brutal. It takes a lot,
It takes a team to get behind you. And thankfully
I have a couple of great producers with me. Dan
Higgins is our lead producer, and Mario and Awa and
without those guys, I wouldn't have been able to do it.
(04:20):
So to have them there with us, with me along
the way, has, you know, made that journey a little
bit easier. But yes, very difficult.
Speaker 2 (04:30):
I think you achieved something which is actually very hard
to nail. The film is like this perfect mix of
heartbreak and humor. There are these very heavy themes in
the film, but then you give us this opportunity to
kind of breathe again, to have a laugh and a
lot of laughs. That's really hard to get that balance, right.
Did you have to work at that when you were
(04:52):
writing this film?
Speaker 4 (04:54):
Thank you for that. No, it's nice to get that
reaction from people. I feel like it's just a natural
part of what it is to be someone to navigate
those two things, grief with a bit of humor. I
think a lot of Sarmon's and Pacific Islanders deal with
their grief through humor. It's certainly something that I experienced
(05:18):
in my own life, going through trauma but also dealing
in a way that's humorous. I just think it's a
part of who I am. I'm not sure if I
tried to do it. I just think it's a part
of me, and it just came out naturally. I love humor,
and I wanted to do an emotional story when I
set out to do it. So just stope that we've
(05:41):
had people in the theaters now reacting to both of
those things. Oh, laughing and crying, hopefully emotional.
Speaker 2 (05:50):
Oh my goodness. Somebody said to me as I headed
into that, I hope you've got a lot of tissues.
I went, yeah, and I've got some tissues in the bag.
You know, about the same amount that I take to
most films. Wasn't enough. It was not enough. And do
you know one of the things I loved about I
went to a screening. It was filled with peaceeople who'd
come to see this film and who really wanted to
be there, and it reminded me why I love going
(06:12):
to a cinema. We had this collective experience together. We
were all laughing and crying and it it's an extraordinary
experience when that happens. We were all in there together,
just having this moment. But man, we cried.
Speaker 4 (06:27):
Oh yeah, yeah, yeah. It didn't hold back there you
doing to hold back there? No, I'm really glad you
said that, because you know, going to the movies has
been an important part of my life growing up as
a filmmaker, growing up, so to get into that shared
space again, and you're absolutely right. This is a film
that requires people to get into the theaters together and
(06:49):
go through that journey together and laugh and cry together.
I have a couple of friends who who went and
saw it and went through the same experience as you.
They didn't take enough tissues and they had to share
their tissues.
Speaker 2 (07:01):
They were saying they have been passed down there as
yeah ten. It is set in christ Which around the
time and post the twenty eleven earthquakes. What drew you
to that setting?
Speaker 4 (07:13):
I'm being a Wellington boy boy and then an Auckland boy.
But I think Dan Higgins, who's our lead producer, he
grew up in christ Church and when I pitched the story,
it was actually based in Auckland to begin with, because
that's where the choir who inspired the whole thing are from.
They're from up here in Auckland. But Dan read the
first drafts or first treatment, and he said, look, I
(07:36):
think this would actually suit christ Church. So I did
a bit of research into christ Church and lo and behold,
it just seemed to fit there much better that fit
in any other location. And then when we managed to
kind of unlock setting in and around the earthquakes there,
that just opened us up to a broader story and
(07:57):
more emotional story that we were after. So I'm going
to tribute that one to Dan Higgins.
Speaker 2 (08:02):
Right, Mickey, you paid tribute to your brother poor at
the end of this film, and you lost him not
too long ago. A lot of this film is about
trauma and grief, and I couldn't help but think how
your experience must have informed the script.
Speaker 4 (08:18):
Yeah. Absolutely, I wrote the script right in the middle
of that period. I've said this a few times now
that whilst I was writing the script, I must have
cried for three years writing it. And I'm not even joking. It's,
you know, seriously going through all of the emotions that
hopefully audiences will go through as well, whilst I was
(08:39):
writing it, whilst I was writing those emotional scenes, going
through that time remembering him. So I like to think
that he, you know, drove a lot of that emotion,
A lot of that emotion went down on paper, and
then you know, has translated itself up to the big
screen there. So yeah, maybe due to him. Actually you
could feel it, Yeah, I hope, So, I hope. So
(09:01):
it was a real emotional experience writing it and so
and in fact, going throughout the entire process, and once
people started coming on board and reading the script and
knowing both of us and knowing our family, they could
also feel it. And so it became a thing where
they came on board and they were a bit more
(09:22):
emotionally invested in making the story. And so I think
a lot of that, all of that has ended up
on the screen. So I'm super stoked about that.
Speaker 2 (09:30):
Actually, No, it's absolutely beautiful. Annapalla is an extraordinary talent.
Of course, she's an award winning, well recognized actress and
writer working in theater and things like that. Did you
write this part for her?
Speaker 4 (09:46):
Yes, I did, although I didn't tell her I wrote
it for her initially. I've told this story before, but
I said to her, Hey, can you come on read
my script. I just need help with this character. And
so she read it and we got together and we
worked on the character and then eventually I said, oh yeah,
(10:07):
and by the way, I want you to play it too,
So she came on board. She came on board willingly,
but I did. I wrote it with her in mind.
She's the only one that I really had in mind
to play. We didn't offer the role to anybody else.
It was just for her. She helped develop it as well,
and so a lot of the gags in the in
(10:29):
the film are her gags. And a lot of people say, oh,
you've got her to do quite male things in this
AKA make her students exercise, and I go, I didn't
make that up. She said, I think I should make
these students exercise so.
Speaker 2 (10:45):
A lot, and it's brilliant. No, it's brilliant. And I
did wonder a little bit with that humor. I'm sure
you know, I was thinking, I'm obviously irresponsible for a
lot of it, but the cast is so fabulous. I
wondered just whether you know, in the moment, there was
a lot that happened that the cast brought to the
table as well.
Speaker 4 (11:01):
It was so fun. Yeah, it was so much fun.
We've got a lot of great young talent cast in
there as well, and we just had a ball shooting
with them. I think they really got into it and
embraced it and went with the comedy. And comedy is
so fun to do anyway. Bows is great at it.
Bueller's on there, He's hilarious. I've got a lot of
(11:23):
friends that are in this movie who aren't actors who
have come on board are absolutely hilarious. So a lot
of fun shooting it.
Speaker 2 (11:34):
And how wonderful. How good is the music in this film?
How wonderful is it to sort of celebrate a choir.
You know, it's not a form of performance that kind
of get spoken about a lot. Really, does it get
its Jews?
Speaker 4 (11:49):
Yeah, no, absolutely not, and it should. And the choir
community is massive here, so I am really proud that
we're able to showcase choir and choral music in that way.
I think we'll find a lot of them come out
of the woodworks, because certainly, when I was pitching this
out to a lot of people, almost everybody knew somebody
(12:10):
that was in choir and in choral music, so or
had done choral music before. So yeah, a large part
of it was the music. I'm stoked because the music
is also a genuine character in this movie. There's a
lot of things that are tied into the story that's
come from the music. Obviously, someone church music has always
(12:32):
been a strong part of our culture, so to infuse
that with Simon church music choral music locally, We've got
a couple of great songs, you know, classic New Zealand
songs in there, and have that all be a part
of this story. It just helped it while you saw.
Speaker 2 (12:49):
It, so yeah, no, it gives it great energy and things.
You had a lot to actually pull together, didn't you. Yeah,
music and performance, all sorts of things going on.
Speaker 4 (13:00):
Yeah, I thought it was going to be heaps easier
than it turned out to be for sure. Yep. Yeah,
took on too much. But that's part of the fun,
isn't it. And also, even though it was tricky and
hard to get all of those elements together, once you
finally get to the other side of it, and we're
on the other side of it now I'm about to
release it, it all works and helps to tell the story.
(13:21):
And I think you I think I hope audiences will
really feel that when.
Speaker 2 (13:26):
They're Oh, they absolutely feel I don't think there'll be
any doubt about that. What do you love about storytelling?
Why is it important to you?
Speaker 4 (13:33):
I think most of the things that I love about
storytelling is to be able to give audiences an experience
that is enjoyable. I don't make movies for myself. I
like I make movies for audiences. And so to get
back the you know, the feedback we've got so far
(13:54):
has been so positive and amazing, and each and every
bit of feedback that we've got has just made me
extremely happy. And that's that's why I do it, you know.
I mean, being a creative has always just been a
part of it of who I am as a person.
But when you're going through the grind and you're in
the trenches, it's often hard to see the you know,
(14:14):
the the enjoyable moments of it. And it's not until
you finish the thing and then people come up to
you tears in their eyes, or they come up to
you and say, you know, they laugh their way through it.
That's probably what gives me the biggest joy.
Speaker 2 (14:30):
So maybe you've got another seven years and you're to
pull another project, like you say, as you say, it's
kind of it's this huge thing and it takes up
so much part of your life and then it's out
there and you are, okay, oh yeah, maybe I could
do that again. That's all, you know.
Speaker 4 (14:45):
I mean, I'd love to do it again. But maybe
we could cheat a little bit and just tell life
that we started five years ago, we've already started.
Speaker 2 (14:52):
Oh maybe, yeah, get your producers on. Maybe you just
handle the writing and the directing, and that's that. I mean.
It's so good to see these Pacifica stories told by
Pacifica filmmakers on screen, isn't it?
Speaker 4 (15:02):
You know? I think it's one of the one of
the things I'm proudest about is to be able to
add to that what is a relatively short time period
of Pacifica filmmakers and films. So to be able to
be one of those now and hopefully add to that
journey is just, you know, just another thing that will celebrate.
Speaker 2 (15:25):
It's a beautiful film. I think it's I think it's
going to become a key classic. Everyone needs to go
and see it. Take a lot of tissues, take tissues,
have a good laugh, just have a moment and be together,
just one mom and.
Speaker 4 (15:37):
Dad and take your family. I'm sure everybody will enjoy it.
Speaker 2 (15:40):
I hope you do, at least enjoy the rest of
your birthday.
Speaker 4 (15:42):
Thank you very much.
Speaker 2 (15:44):
Tina is in cinemas this Thursday.
Speaker 1 (15:47):
For more from the Sunday session with Francesca Rudkin, listen
live to News Talks it'd be from nine am Sunday,
or follow the podcast on iHeartRadio.
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