Interview with Patricia Hetherington

Patricia Hetherington is a New Zealand producer who has been involved in filmmaking since 2005.  

    She moved to London earlier this year, where she now works as an Assistant Registrar at Hult International Business School. In her spare time she likes to tango, attend filmmaking seminars, or work on films. In the short time she has been in London, she has worked on four U.K. films, in roles ranging from production runner to camera operator to director of photography. Oh, and, for exercise, she does bellydancing.

    It's not every day you have a bellydancer drop by your blog and say nice things about it, so when that happened, I took the opportunity to ask her some questions.

________________________________________________________________________

*  Where were you born, and where did you grow up?

I'm from Wellington, New Zealand, born and raised. My mother was English; my father, Kiwi. Both were storytellers. My sister and I grew up hearing about my mother's life travelling the world (her family lived in Kenya for a few years). My Dad could hold court with his tales.

* Can you tell me about your film studies?  Did you go to Film School?

Alex Funke

I'm passionate about film, so my plan was always to go to university and study it. My undergraduate degrees were in Film Theory and Music Composition at Victoria University of Wellington. I was drawn back to study after working, completing an Honours degree in Film part-time. One of my courses was Film Production with Alex Funke. It was competitive to get in. I didn't think I had the necessary experience. Working on my portfolio for the application, I realised that the little film projects I had been doing here and there over the previous 5 years was actually good experience.

Going to Film School has some benefits, as does getting on as many sets as you can. or just making your own films. I think Film School can be more beneficial if you have theory behind you, and have already worked on building up your networks. So I haven’t ruled it out for Masters study. But at the moment I’m making films... which is the best education there is.

*  When did you first take an interest in storytelling?

I grew up with storytelling. But when I was about 15, I realised that I had stories I wanted to tell, and that I wanted to be a filmmaker. Well, a director. A screenwriter. That evolved into being a filmmaker.  

*  Who was the teacher who has had the biggest influence on you?

I’m going to rock the boat over here, and pick three! (Rebel!)

• Alex Funke, for all of his filmmaking knowledge and enthusiasm. You ask him a question, and he replies with, "Let's try it."
• Harriet Margolis, for her support, and for introducing me to Feminism in Film. 
• John Psathas. His passion for music and wealth of knowledge just come across in his composition lectures. May we all have the same passion.

*  You’ve been involved, in various capacities, in the making of about two dozen films. Which is your favourite and why?

I'd say Harmless, because it was the first film that I wrote, directed, produced, edited, and finished. I learnt so much in making that film. I loved it when I'd finished it. Looking at it in retrospect, there are things I would change. But the experience of making your first film is unparalleled. 

*  How has Peter Jackson and The Lord Of The Rings influenced the lives of low-level filmmakers in New Zealand?

The good thing about having such a large production is that it employs and trains up a large number of filmmakers. It’s an investment into the local industry. Those filmmakers can take their experience and make work on smaller projects in the lull between films. A lot of filmmakers were trying to get work on The Hobbit.

    There is a boom and bust effect though. Internationally, large studios make films where the workforce is inexperienced (but enthusiastic) and cheap. The workforce gets trained, charges more, then costs increase. The studios move production to the next country that has an inexperienced workforce and is cheap, where the first country has a large unemployed film industry. There was a huge backlash against Actors Equity when people thought their negotiations were driving the Hollywood studio to move The Hobbit to another country. The government stepped in, overturned a court ruling and offered the studio tremendous tax breaks to keep production here.

    I’m not sure when the bust will happen, but I think the fact that Peter Jackson is still making large movies and has made moves to help and protect the Kiwi Film Industry is a good sign. And we’re doing well as long as we keep making Kiwi films on our own terms.

*  You moved to London at the start of 2012. What led to that decision?

A few factors. There was a boy... 

Mainly I’m here for career development. There are a great many opportunities here. Almost too many! I've only been here four months, and I've already been to a Producing Masterclass, Q+As at the London Film School, the Rushes New Filmmakers Market at BAFTA... I swear there is a film festival every other weekend. There's so much to do!

*  What was the first major difference you noticed about the UK?

People are allegedly not as friendly. If you're on the tube, you avoid eye contact. None of this striking-up-a-conversation nonsense. It's that stiff upper lip. I say allegedly. 

*  I took a quick look at the map of your London location. Does it feel a bit like living on a UK Monopoly board?

I will always look at certain streets and think of them as a colour. The Strand is red. Leicester Square is yellow. Bond Street is green. I'm doing an art project where I'm recording the ambient sound of a location, and linking it to photos. That way people can experience a location. A friend and I are extending the soundscape project to every street from the Monopoly board. We did Leicester Square last weekend. I'm uploading them to Vimeo, so keep an eye on vimeo.com/patriciahetherington.

*  Tell us a bit about the neighbourhood where you live in London. 

I'm in a place called Seven Sisters, which is in South Tottenham in North London. It (apparently) doesn't have the best reputation, but it suits me. There are large communities of Jamaicans, Ugandans, and other Africans. It's easy to get to most places on the tube or to East London on the bus.

*  How do you fill in your average day in London? 

I work in the city. My lunchtimes are spent editing, reading scripts, or—heaven forbid—relaxing; I try to listen to film or music podcasts (I recommend John August, Q+As with Jeff Goldsmith, Filmspotting, and The Empire Podcast) whilst on the tube or at work; and then my evenings keep getting packed: dance classes, film screenings, Q+As, catching up with friends. I'm working on finishing some editing projects, and entered a script competition recently. 

*  Did you enjoy the Olympic Games? Or did they increase the hassle in getting about London?

Actually, the Olympics made getting around London (at least where I'm going) easier! It was brilliant. They did such a good job scaring people off the tube and away from the city/working from home/biking to work, that the tube is much less crowded and there are fewer delays. Also where I work is quiet, as it's the media hub. 

The Tube: so quiet, the Prime Minister uses it...

*  What’s happening with your short film The Lake?

It's been a long journey. At the same time as producing The Lake, I've managed to finish my film studies and produce four other short films. Currently we’re waiting on the final cut from the director. The composer is working on the music, I'm working on the sound design (in my spare time), and the director has been working on the colour grading. I managed to arrange a consultant colour grader to help him. We're working on getting it finished within the next two months.

*  You describe yourself as a “Filmmaker, Bellydancer, Composer, Administrator.” What led to the bellydancing?

Patricia shows how...

My aunt teaches. She was one of the first people to bring belly dance to New Zealand, having learnt it in Australia. I started having classes with her in 1999. I loved it, and kept doing it. I was teaching Beginners Classes in Wellington for a couple of years before I left. My career development here is also for my dancing; I've joined some classes here, and am getting involved with the scene. 

*  You’ve been involved in filmmaking in various capacities since 2005. Do you have a grand plan, or are you simply following opportunities as they arise?

There's an element of getting on as many film sets as I can, so I can network and meet people here. I haven't got the networks here that I had in Wellington, so it'll take me a little while to get back into producing. I love producing, because you have to know everything about filmmaking. I'm focussing on three areas: Production, Camera, and Sound. And I'm still doing small projects of my own.

*  What one book would you recommend to a young wannabe filmmaker in Adelaide? 

• So You Want to Be a Producer, by Lawrence Turman. 

The role of the producer is shrouded in mystery for many filmmakers. Turman's book helped me realise that I am a producer.

    I'm currently reading 'Story' by Robert McKee. 
    I'm also trying to read 100 produced scripts: this was a recommendation at the Producers Masterclass. Read 100 produced scripts so you can recognise great writing, then read 100 unproduced scripts so you can recognise not-so-good writing (or not yet recognised great writing). The aim is to get to the point where you're bored reading scripts, so good writing pops out at you.

*  Name ten of your all-time favourite movies.

• Out of the Blue (Robert Sarkies, 2006)
• Dogville (Lars von Trier, 2003)
• Le Fabuleux Destin d'Amélie Poulin (Jean-Pierre Jeunet, 2001)
• Ma Vie En Rose (Alain Berliner, 1997)
• Labyrinth (Jim Henson, 1986)
• Glengarry Glen Ross (James Foley, 1992)
• The General (Buster Keaton, 1926)
• Blazing Saddles (Mel Brooks, 1974)
• Hairspray (John Waters, 1988)
• Forgotten Silver (Peter Jackson, Costa Botes, 1995). I've lost my copy!  Gah!

________________________________________________________________________

The following video was put together by Patricia at Leicester Square, London, in July 2012. It consists of a series of photos mixed with a recording of the ambient sound there. The aim is to transport the viewer where they can see the image and hear the soundscape. (It reminds me a little bit of the Francis Ford Coppola film, The Conversation.)

 

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First posted: 28 September 2012

One year on... Patricia Hetherington

Patricia Hetherington is a New Zealand film producer currently living and working in London.

We first talked to Patricia in September 2012, at which time she was obviously settling into a fast-paced life involving full-time employment and a wide-range of volunteer activities. ____________________________________________________

• When we last talked you were working full-time, contributing to several film shoots, practicising/performing belly-dancing, completing a short film, attending film festivals and Q+As, writing screenplays, and idling your spare time away catching up with friends. Has much changed in the last twelve months?

At the moment I have a lot less free time to attend all of the wonderful screenings, Q+As, and networking events that I had previously. I am currently in pre-production for at least four short films and one feature; I am in post-production for at least five shorts. I recently directed a short, Dead Letter, with Shiftwork Productions. Once we have finished that for post, I will be entering it into a few competitions.

I had one of my films, Tragedia, screened at Whirlygig Cinema’s Making Tracks. It was performed with live music, and I got to take part in a Q+A. It was a really enjoyable experience.

• Did you make it to any sessions at this year's London Screenwriters’ Festival?

No, unfortunately I didn’t. I did see it advertised early on, and I foolishly decided not to go. I’m going to keep an eye out for it next time.

• You took part in this year’s Nour Algerian Spectacular. Can you tell us a bit about this festival and how you got involved?

I joined the London Algerian Ballet this year. Some friends in the belly dance community were members last year, and I have done classes and workshops with the organizer. I really loved learning the dances, and learning about Algerian culture through the music and dance. The event was fantastic; I think the audience enjoyed themselves.

Shots from last year's show.

• Which have been the three best film festivals you’ve attended in London?

I finally managed to make it to the BFI London Film Festival this year. A lot of the filmmakers came for Q+As and workshops, which is always good. I love hearing stories from the horse’s mouth.

Raindance is a good independent film festival. I volunteered at it last year. They really support independent filmmakers, and are likely to give new film talent a go.

The Open City Docs Festival is a Documentary Film Festival, that incorporates screenings, talks, Q+A, and masterclasses. I would thoroughly recommend it for any documentary filmmaker.

• What was the best film you’ve seen in the last twelve months?

My most anticipated film was Stoker. I had been excited about the film ever since I heard ‘Park Chan-Wook’s English-Language Film Debut’ and ‘Nicole Kidman’ in the same sentence. Two of my favourite things = Ticket, sold! 

I refused to read anything else about it or watch the trailer or anything, until I was sat in the cinema. If Park Chan-Wook made every single film from now until eternity, I would be happy.

And then, (dare I say it, dare I say it), I had been highly anticipating and was very, very happy with Pacific Rim. Judge me if you like, but I love Guillermo Del Toro’s work, and it was a rip-roaring ride.


• Christmas in London must be dazzling. Do you have any observations you’d like to make for those of us not so privileged?

It still is strange having a cold Christmas. This crazy Northern Hemisphere – don’t they realise Christmas should be on the beach? There are Christmas lights and baubles adorning the streets. I realised last year that the reason there are so many lights are because it is so dark and dreary, that you need something to cheer you up. Christmas Cheer has a different meaning when it is pitch black at 5pm. It makes me less ‘bah-humbug’.

• What’s next for Patricia Hetherington?

I have three large projects that I am working on at the moment.

The first is a feature, a portmanteau. The aim is to make a series of short films in 2014 for distribution in 2015. We are currently in soft pre-production. I am Exec Producing with a DP friend of mine. 
 

The next is building a project that I am co-organizing, called Action On The Side. It is collaborative filmmaking, where we get a group of people together and make a short film within a month. I took part in the inaugural event in July 2013. The organizer whose brainchild it was liked what I was doing, so asked me to help organize, which I gladly agreed to do. I helped to run the event in October 2013. My team produced two films, which is a feat in itself. Our next event is in February.

And then the next big step is Academia. I’m preparing for a course that I am teaching in Winter at the Business School where I work. The course is on Practical Film Producing. I’m currently preparing the scripts for the students’ assessments. I have also supervised a couple of Independent Studies: one where a student was a Production Assistant on a short film, and another currently, in Scriptwriting. I’m looking forward to sharing my knowledge of Producing with a group of students. 

Really, [strokes white cat], I’m aiming to build an army of henchmen (Production Assistants), all at my beck and call, as I prepare for World Domination. 

_______________________________________________________________________

The following video was put together by Patricia at Spitalfields Vintage Market, London, in August 2012. (Spitalfields traces its history back to 1638. These days there are some 160 shops available, with a focus on retro fashion and antiques.) The video consists of a series of photos mixed with a recording of the ambient sound there. The aim is to transport the viewer to where they can see the image and hear the soundscape.

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Interview with Patricia Hetherington

Patricia Hetherington is a New Zealand producer who has been involved in filmmaking since 2005.  

    She moved to London earlier this year, where she now works as an Assistant Registrar at Hult International Business School. In her spare time she likes to tango, attend filmmaking seminars, or work on films. In the short time she has been in London, she has worked on four U.K. films, in roles ranging from production runner to camera operator to director of photography. Oh, and, for exercise, she does bellydancing.

    It's not every day you have a bellydancer drop by your blog and say nice things about it, so when that happened, I took the opportunity to ask her some questions.

________________________________________________________________________

*  Where were you born, and where did you grow up?

I'm from Wellington, New Zealand, born and raised. My mother was English; my father, Kiwi. Both were storytellers. My sister and I grew up hearing about my mother's life travelling the world (her family lived in Kenya for a few years). My Dad could hold court with his tales.

* Can you tell me about your film studies?  Did you go to Film School?

Alex Funke

I'm passionate about film, so my plan was always to go to university and study it. My undergraduate degrees were in Film Theory and Music Composition at Victoria University of Wellington. I was drawn back to study after working, completing an Honours degree in Film part-time. One of my courses was Film Production with Alex Funke. It was competitive to get in. I didn't think I had the necessary experience. Working on my portfolio for the application, I realised that the little film projects I had been doing here and there over the previous 5 years was actually good experience.

Going to Film School has some benefits, as does getting on as many sets as you can. or just making your own films. I think Film School can be more beneficial if you have theory behind you, and have already worked on building up your networks. So I haven’t ruled it out for Masters study. But at the moment I’m making films... which is the best education there is.

*  When did you first take an interest in storytelling?

I grew up with storytelling. But when I was about 15, I realised that I had stories I wanted to tell, and that I wanted to be a filmmaker. Well, a director. A screenwriter. That evolved into being a filmmaker.  

*  Who was the teacher who has had the biggest influence on you?

I’m going to rock the boat over here, and pick three! (Rebel!)

• Alex Funke, for all of his filmmaking knowledge and enthusiasm. You ask him a question, and he replies with, "Let's try it."
• Harriet Margolis, for her support, and for introducing me to Feminism in Film. 
• John Psathas. His passion for music and wealth of knowledge just come across in his composition lectures. May we all have the same passion.

*  You’ve been involved, in various capacities, in the making of about two dozen films. Which is your favourite and why?

I'd say Harmless, because it was the first film that I wrote, directed, produced, edited, and finished. I learnt so much in making that film. I loved it when I'd finished it. Looking at it in retrospect, there are things I would change. But the experience of making your first film is unparalleled. 

*  How has Peter Jackson and The Lord Of The Rings influenced the lives of low-level filmmakers in New Zealand?

The good thing about having such a large production is that it employs and trains up a large number of filmmakers. It’s an investment into the local industry. Those filmmakers can take their experience and make work on smaller projects in the lull between films. A lot of filmmakers were trying to get work on The Hobbit.

    There is a boom and bust effect though. Internationally, large studios make films where the workforce is inexperienced (but enthusiastic) and cheap. The workforce gets trained, charges more, then costs increase. The studios move production to the next country that has an inexperienced workforce and is cheap, where the first country has a large unemployed film industry. There was a huge backlash against Actors Equity when people thought their negotiations were driving the Hollywood studio to move The Hobbit to another country. The government stepped in, overturned a court ruling and offered the studio tremendous tax breaks to keep production here.

    I’m not sure when the bust will happen, but I think the fact that Peter Jackson is still making large movies and has made moves to help and protect the Kiwi Film Industry is a good sign. And we’re doing well as long as we keep making Kiwi films on our own terms.

*  You moved to London at the start of 2012. What led to that decision?

A few factors. There was a boy... 

Mainly I’m here for career development. There are a great many opportunities here. Almost too many! I've only been here four months, and I've already been to a Producing Masterclass, Q+As at the London Film School, the Rushes New Filmmakers Market at BAFTA... I swear there is a film festival every other weekend. There's so much to do!

*  What was the first major difference you noticed about the UK?

People are allegedly not as friendly. If you're on the tube, you avoid eye contact. None of this striking-up-a-conversation nonsense. It's that stiff upper lip. I say allegedly. 

*  I took a quick look at the map of your London location. Does it feel a bit like living on a UK Monopoly board?

I will always look at certain streets and think of them as a colour. The Strand is red. Leicester Square is yellow. Bond Street is green. I'm doing an art project where I'm recording the ambient sound of a location, and linking it to photos. That way people can experience a location. A friend and I are extending the soundscape project to every street from the Monopoly board. We did Leicester Square last weekend. I'm uploading them to Vimeo, so keep an eye on vimeo.com/patriciahetherington.

*  Tell us a bit about the neighbourhood where you live in London. 

I'm in a place called Seven Sisters, which is in South Tottenham in North London. It (apparently) doesn't have the best reputation, but it suits me. There are large communities of Jamaicans, Ugandans, and other Africans. It's easy to get to most places on the tube or to East London on the bus.

*  How do you fill in your average day in London? 

I work in the city. My lunchtimes are spent editing, reading scripts, or—heaven forbid—relaxing; I try to listen to film or music podcasts (I recommend John August, Q+As with Jeff Goldsmith, Filmspotting, and The Empire Podcast) whilst on the tube or at work; and then my evenings keep getting packed: dance classes, film screenings, Q+As, catching up with friends. I'm working on finishing some editing projects, and entered a script competition recently. 

*  Did you enjoy the Olympic Games? Or did they increase the hassle in getting about London?

Actually, the Olympics made getting around London (at least where I'm going) easier! It was brilliant. They did such a good job scaring people off the tube and away from the city/working from home/biking to work, that the tube is much less crowded and there are fewer delays. Also where I work is quiet, as it's the media hub. 

The Tube: so quiet, the Prime Minister uses it...

*  What’s happening with your short film The Lake?

It's been a long journey. At the same time as producing The Lake, I've managed to finish my film studies and produce four other short films. Currently we’re waiting on the final cut from the director. The composer is working on the music, I'm working on the sound design (in my spare time), and the director has been working on the colour grading. I managed to arrange a consultant colour grader to help him. We're working on getting it finished within the next two months.

*  You describe yourself as a “Filmmaker, Bellydancer, Composer, Administrator.” What led to the bellydancing?

Patricia shows how...

My aunt teaches. She was one of the first people to bring belly dance to New Zealand, having learnt it in Australia. I started having classes with her in 1999. I loved it, and kept doing it. I was teaching Beginners Classes in Wellington for a couple of years before I left. My career development here is also for my dancing; I've joined some classes here, and am getting involved with the scene. 

*  You’ve been involved in filmmaking in various capacities since 2005. Do you have a grand plan, or are you simply following opportunities as they arise?

There's an element of getting on as many film sets as I can, so I can network and meet people here. I haven't got the networks here that I had in Wellington, so it'll take me a little while to get back into producing. I love producing, because you have to know everything about filmmaking. I'm focussing on three areas: Production, Camera, and Sound. And I'm still doing small projects of my own.

*  What one book would you recommend to a young wannabe filmmaker in Adelaide? 

• So You Want to Be a Producer, by Lawrence Turman. 

The role of the producer is shrouded in mystery for many filmmakers. Turman's book helped me realise that I am a producer.

    I'm currently reading 'Story' by Robert McKee. 
    I'm also trying to read 100 produced scripts: this was a recommendation at the Producers Masterclass. Read 100 produced scripts so you can recognise great writing, then read 100 unproduced scripts so you can recognise not-so-good writing (or not yet recognised great writing). The aim is to get to the point where you're bored reading scripts, so good writing pops out at you.

*  Name ten of your all-time favourite movies.

• Out of the Blue (Robert Sarkies, 2006)
• Dogville (Lars von Trier, 2003)
• Le Fabuleux Destin d'Amélie Poulin (Jean-Pierre Jeunet, 2001)
• Ma Vie En Rose (Alain Berliner, 1997)
• Labyrinth (Jim Henson, 1986)
• Glengarry Glen Ross (James Foley, 1992)
• The General (Buster Keaton, 1926)
• Blazing Saddles (Mel Brooks, 1974)
• Hairspray (John Waters, 1988)
• Forgotten Silver (Peter Jackson, Costa Botes, 1995). I've lost my copy!  Gah!

________________________________________________________________________

The following video was put together by Patricia at Leicester Square, London, in July 2012. It consists of a series of photos mixed with a recording of the ambient sound there. The aim is to transport the viewer where they can see the image and hear the soundscape. (It reminds me a little bit of the Francis Ford Coppola film, The Conversation.)

 

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