FEATURE: 26 JUNE 2007
The recent success of Jonathan Kings Black Sheep both in New Zealand and on the international stage proves the classic comic gore genre has never been more popular. To celebrate, Script to Screen invited Jonathan King into the June Writers Room for some splatter script talk with one of New Zealands gore greats Stephen Sinclair (Braindead, Meet the Feebles, The Lord of the Rings- The Two Towers). Both writers have long shared a taste for the genre and Black Sheep is a fine example of the classic massacre tradition one that lingers on the revolting begun by Sinclair with Peter Jackson.
When asked if the concept for Black Sheep was commercially motivated, King said his ideas are less analytical and more spontaneous. The idea of sheep eating people instantly appealed to me, there’s just something funny about sheep and Id always loved the old horror-gore movies like Braindead. But King took his time examining the potential and solidity of it. I did realize that this idea could sell internationally, but that wasnt intentional. I was just lucky that the concept of a sheep horror was a distinctly New Zealand idea. King said the longer he considered the idea, the more potential he could see. It offered a setting a farm, images of hills and a shed and a good likelihood of an offal pit [sic].
King said the kiwi aspect was invaluable for securing funding and also for giving the film international appeal. Drawing a link between Colin McCahon and the rolling hills of the film’s location was something that King and his producer weren’t afraid to do to win points with the NZFC. King’s script also gained interest from Richard Taylor at Weta Workshop, who was keen to get back to his roots in the gore genre. A Korean company, keen to be associated with Weta Workshop’s business, helped to pick up the shortfall.
The biggest challenge through the development process was creating a script that lived up to the expectation of those who had experienced the key concept. Having good friend Matthew Grainger on board as script editor helped King focus on four key elements: refining the structure, developing believable characters, keeping the audience throughout the films journey and pin pointing the scares and laughs.
Black Sheep has now played in over 17 countries and King believes its New Zealand identity has contributed to its cross cultural success. If it were just sheep on a hill anywhere in the world it would be less appealing but somehow the strong NZ aspect has made it more charming to international audiences. Movie goers worldwide share an understanding of humour and visual comedy that transcends linguistic and cultural differences. They laugh in the same places despite the occasional strange translation of Black Sheeps NZ colloquialisms e.g. Rattle your dags Henry became Courage Henry in France. Big gags bring the house down everywhere and King said he refused to cut the film to make an international version.
Both King and Sinclair are the sons of historians. Sinclair wondered if their filmmaking was related to the emphasis on history in their childhoods. King agreed both the roles of historian and filmmaker use the same raw material but exploit it in different ways. Sinclair has used film as a vehicle for exploring the New Zealand psyche, noting that Braindead was a conscious attempt to satirise 1950s suburban repression. King said Black Sheep did not favour any one argument over genetic engineering, but used the character of Experience to endearingly send up of elements of the green movement. Sometimes people just want a break from being conscientious, he said, adding, no sheep were harmed in the making of Black Sheep but several were eaten for lunch.
Our night with Jonathan King and Stephen Sinclair was another popular event in our ongoing
Writers Room series said Script to Screen Executive Director Rebecca Kunin. It shows that the
local screenwriting community appreciate the vital role that comic-gore has played in our industry
and are proud of the way that Black Sheep has continued this filmmaking tradition. With many
upcoming writers in the audience we can be sure that we will continue to export blood, guts and
zombies to screens around the world.
