so I ended up playing the role of George. It's not how things are meant to work. JEREMY: Yeah, that sucked. But what I remember most was what a tight-knit, positive team we had working with us: Gayle Hogan did so much production work in such a short time on such a small budget, Ande Shurr, our incredible sound guy, Summer Agnew on main cam, just to name a few. They were all truly fantastic. What first drew you to make a festival-oriented art film? Utter boredom with the tripe that gets pumped out that's exactly the same as all the other tripe. Outside of the festival Auckland is mostly a wasteland for anyone looking for smart and interesting films. So working as we did, totally independently, we were able to make the kind of film that we'd actually go see. Hence festival-oriented art film. The way we portrayed NZ is consciously contrary to the NZ that is usually shown in films. It's urban, it's un-scenic. It's not dramatic in the classical sense. What thoughts about Aotearoa came to mind, or you were hoping to get across, while making the film? Well, for quite a few years we've been amazed at the number of NZ films that are about kids, usually framed as coming-of-age films, with the story often heavily framed through a kind of nostalgia. Some really good films even fit this pattern, but we were certain we wanted to take a different approach. Because its basically a fantasy.