The Amiri & Aroha Blog
The Official Blog for David Whittet's Novel and Film Trilogy

Amiri & Aroha - A New Zealand Story

edge

A couple of years ago, when Amiri's Child won an Award of Excellence at the Accolade Global Film Festival, a Hollywood producer asked to buy the rights for Amiri & Aroha. There was even talk of a mini-series, to be marketed as "the next Sopranos."
In so many ways, the offer was a dream come true. The sum on the table was significant and the deal hard to resist. What's not to like about a fully funded production of the story, with guaranteed distribution and a possible spin-off. So why did I hesitate?
Amiri and Aroha is a quintessential New Zealand story. In selling the rights, I would have lost control. It became apparent that the sorry would become Americanised, the Māori culture at the heart of my story would be replaced by American street gangs. After much soul-searching, I turned the offer down.
With two leading international publishers now interested in Amiri & Aroha, I am convinced that I made the right choice. The project began as a Māori take on Romeo and Juliet, and while the story is universal, it is firmly grounded in New Zealand life. The East Cape and the magnificent Rere Falls are as essential as the characters in the drama. I cannot imagine this story taking place anywhere else.
I only hope that we can find a New Zealand producer who is equally captivated by the story so that we can make the definitive film of Amiri & Aroha.

Amiri & Aroha submitted for publication

edge

For the past ten years, Amiri and Aroha has been an essential part of my life. I have lived and breathed with my characters; I have been there with them at every step of their journey. I have felt their pain and shared their joys and sorrows.
Following endless revisions and many months of intense book editing, I have at last submitted the manuscript to leading international publishers for consideration.
For a little while at least, the project is out of my hands while I await the editor's decision. It is a strange feeling, having been so close to the story for so long. But I have not had time to dwell on this; with the novel complete, I have at last been able to clear my mind for the next project. It is now over eighteen months since the child poverty debate in the run up to the New Zealand General Election in September 2014 inspired me to make Hīkoi. Throughout the editing of Amiri & Aroha, ideas for Hīkoi have been running through my mind, but I found it impossible to develop them while still immersed in Amiri & Aroha. Refining the vision and working on the screenplay for Hīkoi is now my top priority.
And whatever the publishers' verdict, the Amiri & Aroha saga is far from over. For those many loyal fans who have been waiting patiently, we plan a limited release of the film trilogy to coincide with the publication of the novel and the films will be available to stream or download on Vimeo-on-Demand.
My dream remains a fully financed film of Amiri & Aroha. Local producers are calling out for captivating New Zealand stories. Amiri & Aroha could be just what they are looking for.

Books aren't written, they're rewritten!

Amiri & Aroha Book Cover copy

“Books aren't written - they're rewritten. Including your own. It is one of the hardest things to accept, especially after the seventh rewrite hasn't quite done it.” - Michael Crichton.

Although I am far beyond the seventh rewrite of Amiri & Aroha, Michael Crichton's perceptive words seem particularly appropriate. After seemingly endless years of work, the novel is almost ready for publication.
The experience has made me think about the difference between editing books and films. The filmmaker has an arsenal of tools at their disposal: the inflexion of the actor, the juxtaposition of contrasting images, and perhaps most evocative of all, the musical score. The writer has only the power of the written word to create atmosphere and tell their story.
Editing the novel of Amiri & Aroha has been profoundly different from cutting the film. Today's audiences demand fast moving drama, often forcing filmmakers to shorten and compress their work to deliver an ever more intense experience. In many ways, writing the book has been the opposite. My early reviewers consistently challenged me to provide more detail and background, to fill in the gaps in the story that were inherent in the film, which is, of its nature, and episodic medium.
There are similarities in technique. Where the filmmaker cuts rapidly to increase tension, the writer uses short, staccato sentences to achieve the same effect.
The novel will provide the definitive rendition of the Amiri & Aroha saga. At 500 pages and 180,000 words, the book is a genuine epic, but at its core remains a heartrending and gripping drama. It is my dream that a New Zealand production company will pick up the story, and we will see the definitive film version of Amiri & Aroha!