White Lies Read online

  A POWERFUL NOVELLA FROM THE MUCH-LOVED AUTHOR OF THE WHALE RIDER, PLUS A MOVING SCREENPLAY, FILM STILLS AND COMMENTARY ON WRITING AND MOVIE MAKING.

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  A medicine woman – a giver of life – is asked to hide a secret that may protect a position in society, but could have fatal consequences. When she is approached by the servant of a wealthy woman, three very different women become players in a head-on clash of beliefs, deception and ultimate salvation.

  This compelling story tackles moral dilemmas, exploring the nature of identity, societal attitudes to the roles of women and the tension between Western and traditional Maori medicine. This book, though, is also about the richness of creativity, illustrating the way a single story can take on different lives. The original novella, Medicine Woman, has been rewritten and expanded by Witi Ihimaera to become White Lies. It has also evolved into a screenplay by internationally acclaimed director and screenwriter Dana Rotberg, which has been made into a superb film by South Pacific Pictures. Thus this book offers an intriguing insight into the process of adapting work, as well as offering new versions of this potent story.

  For John Barnett, who persists in putting New Zealand stories on screen.

  – WITI IHIMAERA

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  White Lies first appeared under the title of Medicine Woman in Witi Ihimaera’s collection of five novella-length stories, Ask the Posts of the House, published by Reed under its Raupo imprint in 2007. Witi Ihimaera is grateful to Penguin Books for permission to reproduce the original and to use it as the basis for White Lies, which has been expanded for the present Random House film edition.

  The film script White Lies — Tuakiri Huna was written by Dana Rotberg based on the original novella Medicine Woman by Witi Ihimaera. Dana wants to thank Kararaina Rangihau, Whitiaua Ropitini and Tangiora Tawhara for the translation to te reo Maori of the dialogue of the film script.

  The key stills photographer on White Lies was Todd Eyre, and grateful thanks are given to South Pacific Pictures for permission to reproduce them.

  CONTENTS

  Title Page

  Dedication

  Introduction — John Barnett

  Acknowledgements — Dana Rotberg

  WHITE LIES • THE NOVELLA — WITI IHIMAERA

  WHITE LIES • THE PHOTOGRAPHIC ESSAY — TODD EYRE

  WHITE LIES • THE SCREENPLAY — DANA ROTBERG

  From the novella Medicine Woman to the film White Lies — Tuakiri Huna: Scriptwriter and director’s notes

  The screenplay

  WHITE LIES • NOTES AND ORIGINAL NOVELLA — WITI IHIMAERA

  Writing the novellas

  The original novella: Medicine Woman

  WHITE LIES • CAST AND CREW LIST

  Copyright

  INTRODUCTION

  In 2007, I received a call from Rosa Bosch, a friend of mine in London. Rosa, an effervescent, incredibly well-connected film sales agent, had worked with us in bringing Whale Rider to the international market. Her expertise in the Hispanic/Latin American market is legendary. She knows every player and all the talent — new and established. She told me that a friend of hers, Dana Rotberg, a film director who had been a leading light in the Mexican film industry in the early ’nineties, had now moved to New Zealand, and we should meet.

  One reason that Rosa felt we should meet was to do with Dana’s motivation for coming here. Dana and her daughter, Rina, had been living in a small town in Mexico, and by chance they had gone to see Whale Rider. The next day, as Rosa told it, Dana decided to move to New Zealand, and, sure enough, here she was, living fifteen minutes away.

  Dana and I met and I asked what she wanted to do creatively. She told me she wanted to settle into New Zealand and be a mother to Rina. We talked more, and I said that if she found a project she would like to direct, I’d be happy to assist.

  In late 2007, Dana invited me to a party she was having for her father, who was visiting from Mexico. I took her a book of Witi’s short stories, Ask the Posts of the House. Some months later, Dana told me that she had found a project and that it was the novella Medicine Woman, which was one of the stories in Ask the Posts.

  Dana took the novella and, in changing and adapting the roles and motivations and the inner qualities of the characters, the film story became a triangle of confronted and conflicting identities.

  White Lies, the film version of Medicine Woman, would be quite different from the other films I have made. But one theme that captured me was ‘identity’, and that’s something I am interested in. I am interested in how people assert their identity, how they claim it, why they reject it and the consequences of their actions. And I feel that across most nations, cultures, religions, the same elements hold true.

  So, for me, White Lies is about three characters who are all at different compass points in their connection to their identity: Paraiti, whose beliefs and daily practice are absolutely shaped by her culture; Maraea, who has turned her back on her heritage, culture and people; and Rebecca, who has no knowledge at all of where she comes from. And this triangle is one which has universal resonance.

  That was what determined my decision to work with Dana and to adapt Witi’s work into the film. Witi tells stories that are universal in their themes and specific in their setting. That approach enables them to reach audiences beyond those who are the subject of his writing.

  As we develop our sense of our New Zealandness, we often struggle with issues of ‘ownership’ of ideas, and there are some who feel that Witi’s works, written by a Maori author, mostly set in Maori communities, can only be told by Maori. I do not hold with that any more than I think that only a Scotsman could write Macbeth, or a Moor could write Othello, or a Jew The Merchant of Venice. Our world culture is enhanced by the ideas we ingest from all the experiences we have. When one looks at Roman, Greek, Norse or Polynesian mythologies, we see that each culture has a number of gods whose functions are evident in all the other cultures. The emotions that drive people, their actions and reactions are universal, and that also gives us the connection to seemingly different worlds.

  I felt Dana would bring a filter to the adaptation of Medicine Woman which would be quite different to that which a local filmmaker might bring. Her experiences in Mexico, and in the Balkans, would give her a take on ‘identity’ that might make the film accessible beyond the shores of New Zealand. She would tell it from the outside in, rather than the inside out.

  And, as with Whale Rider, Witi agreed.

  So we began the process of adaptation and the eventual production of White Lies.

  Film production is a journey that often requires the travellers to adapt to circumstances as they change around them. The script and the schedule and the best-laid plans evolve as the production takes place — the exigencies of location, weather, performances, budget and myriad other elements all impact on the process, and the script changes as it moves through the production. The script that is published here is the script of the film that has been delivered and released in cinemas.

  As mentioned before, Dana’s script and the film were based on Witi’s original novella Medicine Woman. But just as a film script is a living, breathing entity, so a novel can also change and adapt, and Witi has rewritten the story in his own way, adding scenes, expanding the background and putting in elements in readiness for the sequel he plans to write one day. So, while the original novella is reproduced at the end of this book, what we are showcasing here is how a story can take on new lives, and evolve in different media, with alternative endings and emphases. This book is a celebration of Witi and Dana, and of that creative process.

  I am thrilled to say that I think the film Dana has made has realised the aspirations I had for this powerful story.

  John Barnett


  Producer

  ACKNOWLEDGEMENTS

  I acknowledge with gratitude all those who made the film White Lies — Tuakiri Huna possible (in chronological order):

  BOBE TERE-TERESA GOLDSMIT BRINDIS: I made this film in memory of the tears I saw you shed, longing for the true colour of your soul.

  RINA KENOVIĆ, my daughter: Because you are the one who inspires me to be a woman of honour and always follow my heart and my dreams. Because in your eyes I find the reason and the purpose for working hard, with honesty, bravery and truth, so we can make a better world for all. For your solidarity, your patience, your always pragmatic advice and for forgiving my absence from your life during the last two years. For helping me translate, revise and correct the many pages I have written for this project from Spanish, my language, to English, your new language.

  NIKI CARO: For changing my life with your film Whale Rider. Your vision was a profound mirror to the soul of the people and the land. A vision that inspired me to leave Mexico, my homeland, in search of a new life for me and my daughter on this group of tiny and remote islands at the extreme end of the Pacific Ocean: Aotearoa New Zealand.

  JIM BUTTERWORTH: For saving my life the first winter I spent in this country, and taking me to hospital in time so I wouldn’t die. For being my Kiwi father and my best friend.

  ROSA BOSCH and SHEILA WHITAKER: For believing that my voice as a filmmaker was still alive, no matter for how many years it had been silent. And for working hard so we can all see this film fly high.

  JOHN BARNETT: You took the risk and believed in me, a total stranger with an explosive temperament. And you produced this film, an extreme challenge for all of us, and the most sacred experience I have ever had as filmmaker. I thank you forever.

  WITI IHIMAERA: For your Medicine Woman, a most beautiful gift.

  JON ARVIDSON: For helping me with the English grammar and translation of the synopsis of the script and ‘Characters’ Journey’ document.

  MOANA MANIAPOTO: For reading the first synopsis I wrote, only a couple of weeks after Manawanui was born. With tears in your eyes, you encouraged me to make this film.

  JULIE PAAMA-PENGELLY: For my ta moko, the creative portal you drew on my right forearm.

  JOE MCCLUTCHIE: For your dreams and for guiding my first steps into the Maori culture with your knowledge.

  JO JOHNSON: For revising, correcting and improving the very many drafts of the script.

  TIM BALME: For your perfect understanding of the language of film and your always precise input in the development of the script.

  MINA PRIP and CALUM MACMILLAN: For being a family to my daughter and me. For opening the first gate into the Universe of Tuhoe. For crying with me and being happy with me all along the way. For revising the translation in te reo Maori of the script.

  ANI PRIP and HINEIRA WOODARD: For hosting me in your home in Ruatoki on my first visit to Te Urewera, being patient and generous with me and my infinite ignorance, and for providing us with Tuakiri Huna, the perfect title for this film in te reo Maori.

  HINEWAI MCMANUS: For sharing with me your brave and generous soul, the soul of a Tuhoe warrior. And for rowing like mad on a windy evening on Lake Waikareiti, so we could get to shelter before dark.

  JIM WHITE, RICHARD WHITE and MERIANN WHITE: There are not enough words in any language to express the infinite gratitude I feel towards you for welcoming me and this film into your hearts, your whanau and your marae. You shared, with no reservations, the sacred space of Oputao Marae. A humble and beautiful marae, restored and brought to life by a work of love made through the years by Taiwera Ivan White and you, his sons, Richard and Jim. The first wharenui I ever slept in and where, during a long and stormy night, I asked your tipuna for permission to tell this story. It was there I had the honour to be present in the Ringatu ceremony of Te Tekau-ma-rua, and through your mana the idea of the film was presented to the Haahi Ringatu of Ruatahuna and Waikaremoana, asking for their acceptance and blessing. Oputao Marae was the place where we spent long hours discussing the characters of this film and their journey, and we revised the translation of the script into te reo Maori, word by word. It became a production office, a rehearsal studio, the wardrobe-fitting room, a film location. The wairua of Oputao Marae has been a source of strength and inspiration for me. I can only hope that, with this film, it will be honoured as it deserves to be. You are brothers and a sister to me, and without you this film would not exist.

  KARARAINA RANGIHAU: You took me by the hand to discover the depth and wisdom of your land and your people. Your knowledge of Tuhoe history and the enormous dignity and pride with which you hold, preserve and protect your identity has been the living expression of mana, something almost forgotten in the world I come from. You have been a ferocious critic when I have been wrong, and I can only thank you for that, and you have been the most generous teacher when I needed to learn. You placed this film in your heart, and you have worked day and night by my side for the last two years to make it happen. Cultural advisor, te reo Maori translator, dialogue coach, casting advisor, location scouter, production and logistics magic wonder woman. Your passion for filmmaking humbles me, and it has been a unique experience and a privilege to know you and to work by your side. Gracias, Camarada.

  WHITIAUA ROPITINI: For being the adviser in all matters related to the Ringatu faith and protocols, for the translation of the dialogue in te reo Maori and for representing this film in the Haahi Ringatu of Ruatahuna and Waikaremoana. You spread your enthusiasm for this film all over the valley, and with that you opened the doors and the people’s hearts for us.

  TANGIORA TAWHARA: You are the Rongoa Wahine. Every day on the set you shared your knowledge of Rongoa, making sure it was represented with respect and integrity. You opened your knowledge to everyone, Pakeha and Maori, and we all became united by that. I thank you for the karakia and for translating to te reo Maori all the dialogues of Paraiti. And for being a supportive and unconditional friend.

  HAAHI RINGATU of Ruatahuna and Waikaremoana: You allowed me to be part of your parish, you opened your soul and invited me in. Just to be there and witness the truth and humble sincerity of your spirituality has been the most precious gift I could ever get.

  THE PEOPLE OF RUATAHUNA: You embraced this film and made it yours. You welcomed us and shared your homes and your food with us. You worked with us day and night. You lent us props and wardrobe, you gave us advice and took care of us. You were home for us. You are home for me.

  KAUMATUA OF HOPURUAHINE: For welcoming us onto your land and allowing us to re-create, for the film, the atrocities committed in the past against your people. Many of you cried when we were shooting those scenes, as you lived again the suffering of your tipuna and the land. It is my hope that, with those tears, some healing may come to your hearts.

  TE TUAWHENUA TRUST: For allowing us to film on your land and to take to the screen the amazing beauty of Te Urewera.

  MANAWARU TRIBAL EXECUTIVE: For endorsing this film.

  CHRIS HAMPSON: For believing in this story, working hard and staying on board until the end of this film. A film that can make us feel proud.

  ALUN BOLLINGER: You created a visual universe of exquisite aesthetics. You are an artist who conceives of light and space through the camera frame in a poetic way. You understood the film profoundly and brought it into being with vision, providing the story of our Paraiti, Rebecca and Maraea with a wise sense of compassion and humanity. Your guidance and advice while rewriting the many drafts of the script were crucial.

  CHRISTINA ASHER: For the best cast ever.

  The amazing three leading actresses: You all brought to the film much more than what I gave you in the script. WHIRIMAKO BLACK, you are a brave woman. You brought Paraiti to life with a grounded and sacred quality. ANTONIA PREBBLE, for your emotional wisdom, your professional devotion and your profound knowledge of Rebecca, who came from within your skin, to become the unforgettable character we have on the screen. And for gifting us with the
narrative of the ending of the film. RACHEL HOUSE, you are a powerful, sophisticated and intelligent actress. With those qualities you transformed the villain of our story into a complex and deeply human Maraea.

  NANCY BRUNNING: For trusting me.

  DEIZHON MANAWANUI KING: Beautiful baby, you are the miracle of this film.

  CATHERINE MADIGAN: For your love for films and the endless hours of efficient and perfect work. For the many times you made production miracles. For your vision and support.

  STEPHANIE WILKIN: For taking Whirimako Black by the hand with endless generosity.

  HAMISH GOUGH: For giving structure to our filming weeks and being the boss.

  TRACEY COLLINS: For taking on board the amazing job of re-creating a window to the past of this country, through the production and wardrobe design of the film.

  ANDREW BEATTY, VANESSA HURLEY, YOLANDER BARTHAM and ABBY COLLINS: For taking over at the last minute the design and production of the challenging make-up of this film. And making it wonderful.

  HAYLEY ABBOTT: For trusting I knew my way and for saving me when I didn’t.

  ADAM MARTIN: For the precision of your suggestions with dialogues of crucial historical and dramatic meaning.

  PAUL SUTORIUS: For believing always that we had a beautiful film and for making it flourish in the editing room. For being a good human being.

  JOHN PSATHAS: For creating intense, intelligent and emotional music; a bridge that takes the audience to a place where they become one and the same with each one of the characters. With that you brought a new layer of drama into the emotional texture of the film and imprinted a sacred dimension on the story of Paraiti, Maraea, Rebecca and her baby daughter with a refined balance of discretion and passion. For the blessing of your friendship.

  RICHARD NUNNS: For the sacred beauty of your taonga puoro.

  JAMES HAYDAY: You made a soundscape for this film in which each one of the locations has a voice, a story and a soul. For being up at 4 am on the top of a mountain in the bush of Ruatahuna, freezing cold, recording the first songs of the birds and the sounds of the river. You are a unique creative mind and a loyal colleague. For that you are a dear friend to me.