To LA

If you've been watching my films and following my social media, then you'll know Wellywood is a bit different to Hollywood. For starters, American comedy writers typically say to base characters on people that you've really known because nobody will think it's them, and Ken Levine said that the intended targets often identify with how annoying the character is... That doesn't work in NZ. In a country where even a druggie loser like me is an acquaintance of the former PM (Jacinda's a keen fan, and we have some mutual friends), everyone knows who your characters are based on, and that's why most Kiwis are afraid to do satire. Playing up the surreal images has worked well for myself and Ethan, but Ethan doesn't typically do topical NZ satire. A lot of his stuff is about our relationship with media, so it has a globalised slant. I'd say that people generally prefer the abstraction of AMPP's satire skits to something like the bullshit attack ads that the major parties ran in 2023. Everyone knows that the Prime Omelette is riffing on the current PM, but it's perfectly legal (and funny). - Plus the celebrity culture is different. Kiwis like to think that it's nonexistent, but that's a giant crock of shit. It's generally a social faux pas to fawn over someone, but that doesn't mean that there aren't a lot of stupid status games between famous people. All the touring acts need groupies to source their drugs, while movie stars - local and international - and prominent journalists and broadcasters are simply part of Wellington's fabric. Peter vs. Wellington is a fascinating topic, for those who are interested. Peter and Fran aren't apolitical - they backed Andy Foster for mayor in 2019 - and the sagas with the movie museum, Shelly Bay and workplace safety have shown that he isn't averse to throwing his weight around. Jim Cameron is also political, though he only donated a nominal sum to the Greens in 2023, and seems like a pragmatist rather than an activist. The creative community is strongly Green-aligned, however, and I'd argue that nepotism and favouritism inadvertently excluded me and my mates. We're not right-wing nutters; we're just not keen on the party. - The major difference is that our fates are decided by arts administrators rather than studio executives. Public funding is the major source of creative capital here in Aotearoa, and with very little competition, it becomes a mixture of turn-taking, sour grapes and kissing arse by riffing on the latest trends. I'm lucky that we had the means to finance Riddell Productions and The Dakumentary independently, but I'm very much the exception that proves the rule.