'just one episode'

No. No Tina of any kind. If you want me to do a TV show, then let me write a fresh one. It's simple: I'm writing a book, and I'm not interested in practicing music because I'm busy with my writing and I'm busy with my Māori course. - What I think we should do for TV/streaming: an expanded version of my AM presents skits with proper animation for the muppets and McPhail and Gadsby-style live action satire. I'm only ever going to say no to Tina-related ideas. She's my creation, and that means that it's my choice regarding which medium I choose to tell that story in and who I choose to tell it with. I'm not interested in what Michelle or VUW wants, nor Tory and the Wellington Council. This, in fact, is another aspect of the loneliness of directing. - I'm the one who ultimately is making decisions about my projects. I'm cognisant that refusing to film Just Like Yesterday probably got Jane fired, but the negotiation was terribly insulting, and basically treated a feature film as 'exposure'. Michelle still has her job. VUW still has money: they could simply pay my $50,000 quote. That's actually reasonable. VUW paying me for the script = me living in an apartment, buying new equipment to make the documentaries that I really want to do, and it also doubles as compensation for the way that I felt I was treated as a student. Next time, pay me to write it so that you have legal rights of ownership, rather than spying while I wrote on spec. That's my message to the rich folks that punch down. - Same goes for the NZ Film Commission: I refuse to rewrite for money. No, you're going to pay me fairly for that Weeded Out trilogy draft, or you're not going to be involved. I'm actually trying to set a precedent that forces the NZFC to pay for specs. I'm aware it's a first draft, but it's a bloody good one, and your notes were tepid and bullshit. I don't think that it's a good look when a bunch of older cisgender white men start telling the enfant terrible trannie how to tell her own life story. Hence my Dakumentary, where I took control. - I don't care that all the pros think that 2030 Shipwrecked is unfilmable: if you hadn't noticed, I'm not actually asking to make a movie of it. I'm asking producers to support an album with songs + dialogue. Then, if that goes well, we make a movie. - My talking points are always the same. I know my rights, I know copyright law, and I've been outspoken about my opposition to the institutions named in this post on dozens, if not hundreds, of occasions. I haven't heard a peep from them about changing their business practices. They are treating me like an amateur, and they're simply convinced that they know better, despite the fact that my films - made on a fraction of their budgets - are bloody good. So, stop telling me about how great 'so far' or 'looking' or 'pose' could be: I have said no, and I am legally entitled to continue to refuse any and all offers because I'm the sole rights holder for Just Like Yesterday and my EP and Shipwrecked 2030. Other people can make their own version; I simply refuse to be involved, but I am willing to sell my script if you actually pay me the amount that I have asked for. Watch my Dakumentary, particularly Season 1 Episode 10, then cease and desist as I have asked. Paddy, I'm not keen, and I'm not doing it: I called time on the Dakumentary, and that also means calling time on Tina. I'm writing a book. Case closed.