In an interesting piece that ran this weekend on the BBC's website, Megan Lane argues that New Zealand when chosen as a landscape for Hollywood films has a tendency to overshadow all else. The beauty that gets shown on the screen is the main attraction, she says, citing several reviewers who got so bogged down on the filmmaking that they lost sight of the scripts. At their best, these are "locations that unlock hidden emotions, but also extra drive and determination."
It's not just New Zealand, though. Other countries have the same power to provide such wilderness and opportunity that moviegoers can't help but be drawn in. More and more filmmakers are turning to stock video clips from around the world to help set up their scenes, and the drama. Here are three examples of clips from New Zealand that you can use that will help conjure up emotions, even before characters enter the scene:
Timelapse movementTimelapse clip from Shutterstock
If you want to show the passing of time, do it in style with a clip like this one. New Zealand has the colors to give this common moviemaking device more lift to it. It doesn't have to be a throwaway aerial shot, especially if the story takes place at a beach, in this instance. You can make use of this short period of time to help establish new emotions and memorable moments for viewers.
Waterfalls clip from Shutterstock
Looking to set the scene in an outdoor wonderland? You can't go wrong with a long distance shot of waterfalls. From there, you can come in closer and introduce the characters on an island or at a resort. Your audience will come into the dialogue looking for more of the exotic and beautiful.
Street clip from Shutterstock
The colors and beauty New Zealand has to offer doesn't end with its wilderness and beaches, however. You can find more to marvel at on the typical streets, like in the above clip of downtown Christchurch. If you set up a story to take place inside an office building, you can lead into it with something like builds suspense with authority and seriousness. Focusing on an image that doesn't move, but with others around it who do, you get the sense that something is about to surface nearby inside.