a New Zealand scriptwriter and TV producer.
Thompson was born in Redditch, Worcestershire and grew up in Ontario, after his parents emigrated to Canada. He studied Drama at York University and embarked upon a successful career in the music industry as both a songwriter and musician. His groups include Stillwater and one evolved into Edison Lighthouse who had the No. one record "Love Grows Were My Rosemary Goes". His greatest ambition was to write. He published a novel in 1979, The Number To Call Is ... - which remained on the best seller lists around the world for several weeks - before becoming a script consultant for various producers such as Joseph E. Levine. His television writing credits from the 80s include Squadron and Howard's Way, which many consider to be one of Britain's best loved drama series and which ran for six years. He acquired the position of Head of Development for BBC Television Drama Series and developed or worked on many other iconic titles from Bergerac to The House Of Elliot - before he founded, in association with the Sancuary Group PLC, his own production company in 1994, The Cloud 9 Screen Entertainment Group, which has since specialized in family entertainment. His youngest son Cameron suffers from Asperger's Syndrome; Raymond has also been diagnosed with the condition. This led him to found Cloud 9's Children Foundation, which aims to support families affected by the syndrome mainly in Oceania.
In 2001, he returned to his muic roots and composed the soundtracks of Cloud 9's portfolio of product produced. Also the "Spirit Symphony", which was partly inspired by Asperger's. It was performed by the New Zealand Symphony Orchestra and released on CD in 2004. The proceeds of the song 'With You Every Step of the Way' ( also composed by Raymond) were donated to the foundation.He has been a juror at BAFTA and the International Emmy Awards. In 2003, he was appointed by Her Majesty Queen Elizabeth II as a member of the New Zealand Order of Merit for his services to television. In the same year he also received an Honours Award at Dragon*Con. He is currently focusing on his screenwriting activities and is developing a portfolio of motion pictures.
"We're committed to New Zealand and have invested many millions here and now we have invested in Wairarapa, Thompson said. He said Wairarapa people are nice and he sings the praises of New Zealand and Wairarapa on his travels around the globe. I'm thrilled it's (the land) always going to be here. One of my grandchildren was born in New Zealand and I have visions of him growing up as a Wairarapa boy, Ray said. (28. July 2004)
Tirohana Estate
Privately owned and managed by the Raymond Thompson Family Trust, Tirohana Estate is a boutique vineyard located on the alluvial terraces of the dry riverbed in Martinborough on the North Island of New Zealand.
The Estate produces award-winning premium wines exclusively from homeblock Pinot Noir, Sauvignon and Chardonnay grapes, Tirohana Estate is a founding member of the Unique and Boutique collective.
The current Operations Manager at Tirohana Estate is - Saranne James, a name that should be known tyo all Tribe fans. Saranne is Ray's daughter and James is his son-in-law.
Saranne - Operations Manager
inherited her love of wine from her father ( Raymond Thompson). As is the custom in Europe where she grew up, Saranne was taught from an early age to appreciate quality wines and she has enjoyed many trips to France where she got to see first hand the way that wine is a part of life. Indeed, wine is now an integral part of her life. After working for many years in the buzz of the film business, Saranne was keen to experience a more rural lifestyle and she is delighted to be able to work alongside her husband Toby in an area that she loves whilst being able to continue with her creative work.
Toby ~ Marketing Manager
As a Nursery Nurse, children's bookseller, film set chaperone, tutor, Children's charity co-ordinator and in more recent years a publishing consultant, Toby has always worked with children or all things child orientated. However, this move into the world of wine and a return to nature is a part of a long term plan for Toby and his family. Whilst incorporating his existing role in children's publishing, Toby will also help develop and market the Tirohana Estate, whilst fulfilling a lifestyle dream. Toby grew up in a small rural village on the South Coast of England. It has always been a desire of Toby's to return to a country community and Martinborough and the Wairarapa has for many years held a very special place in the hearts of the family. The wine industry has such an exciting buzz and the whole Wairarapa community seems to be driven in making this region the best at what they do.
(2008)
Raymond Thompson (Executive Producer) and Harry Duffin (Script Consultant)
THE INTERVIEW
Raymond Thompson (RT) and Harry Duffin (HD)
Where did the idea for The Tribe come from?
Raymond: I have always been intrigued with the notion of a new world order which probably emanates from coming of age in the 60's where young people were tremendously affected by the cultural explosion of music, fashion and political climate at the time. Over the years, and with each generation, there has been an element of the rebellious, a feeling that the adults have somehow "screwed up" and that the new generation can build a better world. So the tribe has been simmering for several years in my mind in abstract terms and is a great vehicle to portray the theme of the young inheriting the earth and rebuilding society in their own image (the prime theme of the series is examination of whatever that image might be).
Harry: A magical moment for Ray Thompson. One of those gifts a writer sometimes gets, if he/she listens hard enough. Never question where a great idea comes from, just say 'thanks' and use it.
From the idea and concept for the series that became The Tribe, what was the process involved in turning it from an idea - into a series? How was the idea expanded and developed into a series?
Raymond: As a writer with a reasonable track record I have been approached on several occasions to develop new products which tends to be derivative of past successes. I enjoyed enormous acclaim working on Howard's Way and for a time was approached to develop further soaps which was not really of any interest to me.
When I was approached by Nick Wilson of Channel 5 to develop a soap for the millennium targeting a child/adolescent market I was attracted by the notion of structuring a normal framework for human interplay within an abnormal backdrop. I have often described The Tribe as Mad Max meets Neighbours or The Terminator meets Home And Away and was particularly encouraged by Nick's supportive attitude to really push the boundaries and let my imagination go to develop a series with attitude which could be edgy and as unique as I want it (limited only by the imagination) as long as the issues remain truthful and reflected the world children and young people inhabit.
I had worked with Harry Duffin on several occasions and admired his skill as a writer but, above all, his interest in producing quality television which we both believe can only be achieved with conviction and integrity and I thought that Harry would be an ideal collaborator.
Harry also shares a love of writers and the creative process. After we exchanged thoughts and ideas we wrote an initial treatment (which basically is a series synopsis and character breakdown) we recruited a team of writers and began discussing the premise.
This process is a fulfilling and rewarding one whereby each member of the writing team contributed to the creative discussion and within the brief and before long the tribe started to take shape.
Harry: how long have I got? Basically, Ray and I tossed around potential characters, and I chatted with a fellow writer, Mike Kenny, who works closely with the age-group, about teenagers attitudes today, because my two daughters are grown up, so I'm not as in touch with teenage life as regularly as I used to be [sadly].
From there we produced a basic premise, only a page or two, character outlines, and an outline for episode one [which changed in the development process, as they always do]. Then I got together a team of writers, [about ten initially] and we developed the story format.
Was there anything you were particularly looking to include in how The Tribe evolved?
Raymond: I was personally very keen to develop a series that would challenge and stimulate an audience rather than rely on lowest common denominator storylines and I think the tribe certainly poses some interesting questions about the world we all inhabit. Interwoven with this I was very keen to portray an attitude and look so that the characters, as well as the world they inhabit, remained creditable. Young people, for example, through the ages have always used fashion to express themselves and I think the look of The Tribe represents young people of the future and says a lot about their attitudes and aspirations.
Harry: Problems for our characters to solve in their new world. Problems of technology, how to get clean water, some form of power, and also problems of morality. If there's no one around to tell you how to behave how do you behave? We'd all have different answers, like Zoot's attitude versus Amber's.
What were you not looking to include in the evolution of The Tribe?Raymond: Again, I was very keen to push the boundaries and ensure that we did not trivialise the subject matter of The Tribe. With a series of this genre it would be quite easy to become cliché and negative and to side step some of the hard hitting issues that we intended to explore.
And overall, I am very proud that we remained truthful to the original ideal in developing The Tribe and confronted every element rather than run from them to take creative refuge and perhaps ignore the issues we set out to explore. Those issues I believe have been tackled in a multi-dimensional way and I hope are provocative to allow an audience to draw their own conclusions of what is right or wrong in the realisation that the very root of morality is often grey and we have tried to portray that (ie. that issues are not only black and white and often grey).
Harry: First and foremost, we didn't want to glorify violence. In the anarchic world of 'The Tribe', [like our own world, sadly] some form of violence is inevitable. But there's quite enough in the commercial cinema, and we wanted to show there are different things to aspire to.
Why are there so many main characters?
Raymond: It is essential to fuel storylines via the character interplay.
Harry: For a 'soap' there aren't that many characters. Most UK soaps have over twenty and counting. As The Tribe develops, no doubt we'll introduce new characters and increase the number too. But like any story with a vast canvas, [as we hope ours has], you need a number of main characters to fuel the storylines. Think of most of Dickens novels, or 'Vanity Fair' or any number of great stories.
What audience age group were you looking to aim at when developing The Tribe?
Raymond: The Tribe is targeted primarily at an audience age of 8 to 18 but we believe that the series can be enjoyed by all outside that age group who are interested in soaps with the subject matter.
Harry: From eight to eighty. I've always believed that a great story for kids, should be able to be enjoyed by adults. Go to any classic Disney film in the cinema and watch the adults gazing spellbound. Have you seen 'Toy Story'? A great script. Beats the newest 'Star Wars' effort hands down for story and character.
Why are there no adults in the series?
Raymond: All the adults have died within our storylines but some adults might appear at some point...
Harry: Haven't you been paying attention? They've all been wiped out by the virus! Or have they...? Wait and see...
How long did The Tribe take to create and develop - over what period of time?
Raymond: In actual real time approximately two years to bring the first series to fruition (ie from the time I discussed the project with Nick Wilson at Channel 5 to the time the first series was broadcast) but, as previously mentioned, I have wanted to do this series for several years as it houses radical issues which are both profound and dramatic - and I know that Harry Duffin has also wanted to explore these as well for a very long time.
Harry: About ninety years - which is how long Ray and I have been fascinated by stories and story-telling. Oh, you mean actually? Ray threw the idea at me in November [1997] and we produced our first block of four scripts by July '98.
Why are the main Tribe characters based in a shopping mall?
Raymond: We needed a base where the Tribe could interact as a group for both logistical reasons and creative. Within the shopping mall there is also intriguing shops for the characters themselves to inhabit so that privately and collectively the writers have a unique framework to explore the character development and interplay.
Harry: Mazlo's hierarchy of needs states that one of womankind's basic priorities is safe shelter [and mankind's, for that matter.] The mall is defendable, [to a degree], it's got separate places for our guys to make their own, and more importantly, it keeps all our main characters together, which for us writers is essential. Otherwise you''d have a lot of scenes with people talking to themselves. Very boring.
Is The Tribe meant to be set anywhere in particular?
Raymond: The Tribe is set anywhere in the world.
Harry: Mo. It's supposed to be universal, really. In the universe, but who knows where? Is it on earth? Maybe. Only time, and the muse, will reveal all...
How did you decide upon the issues that would feature in the storylines - such as environmental messages, teenage pregnancy or bulimia?
Raymond: I think young people have always been very much in tune spiritually and tend to be more elemental than material and this is always an interesting area to explore which usually manifests in themes of idealism. As far as other issues in rebuilding a new world we are able to focus on technology and the environment and science and all that that entails which provides fuel for good storylines. We have also tried to examine issues that young people live everyday of their life from bullying to bulimia and all of this has been interwoven with the emotional interplay which always drives the best drama (ie the examination of inner conflict and the loves, fears, betrayals and ambitions within a group of people).
Harry: Look around you, buddy. What's out there is what we use. We don't want to preach, but we do want to reflect life as it really is. Bulimia is a tragedy that often affects teenage girls a very close friend of mine suffered from it, and it's her experience that drove our story for Salene. It's the same with every issue we include. What's more important than the environment, the world we rely on for our very life? [except maybe our latestboy/girlfriend, rave, movie idol?] I joke. Our main aim is to entertain and engage an audience, but if the series gets some people thinking, who wouldn't otherwise have thought about things, then that's great.
Are there any ideas that were considered in the development of The Tribe - but that were not used?
Raymond: The creative process is a painful and arduous one and ideas are forever being dropped or changed. And so approximately 10% of ideas discussed end up being scripted and even then end up evolving right up until the material is shot and committed. Its organic. The strength for any good series lies in the writing. That is the sole creative area. All other areas are interpretive (although that process itself requires a creative expertise) in the sense that someone has interpreted something that a writer has created.
Harry: Tons. For every ten ideas thrown up in development, maybe only a couple would be used. It's an experiment. What works, what doesn't work? And that's only a matter of opinion, of taste, instinct. Some names, like Zoot [dreamed up by our lead writer, Dave Fox] come ready made. Others you have to work at, like choosing a name for a baby. What works for PaulaYates might not be right for you or me. Secret: Bob, the dog, was originally called Sherbert, but the dog responded better to it's real name, and the youngsters in the cast had made friends with the real dog and kept calling it 'Bob' during the takes. After about take twenty was ruined, it was decided to give up and let the dog win.
What messages does The Tribe say to its audience?
Raymond: I hope the message is a positive one. The notion of what happens in a series is totally different to what a series is about. Everyone knows what happens in The Tribe but that is not necessarily what the series is about and I would hope that the Mall Rats tribe and their aspirations and triumphs through their various encounters and adversities is a shining testament which will inspire a viewer to realise that human grasp can, and does, extend beyond reach and that there is always hope whereby good triumphs in the end.
The prime underlying thematic is young people rebuilding a new world and in that context the theme is a profound one about conscientiousness determining existence or existence determining conscientiousness.
This question and theme has challenged humanity since time began and it is doubtful whether there is an answer to that question.
The soul of that question has inspired some of the greatest political minds of our time and although Marxist dogma might fall on the side that existance determines conscientiousness - I hope that the Tribe portrays that conscientiousness, in the end determines existence.
Within our character interplay we have structured various voices to represent all kinds of theories (ie. Tai-San is mystical, Bray the elemental, Jack the practical, et cetera) but within the human condition overall I believe that the emotions of all the characters in the Tribe lies within us all. Some aspects are dormant, others lie sleeping and just need to awaken, others run rampant. But overall I think the storylines will entertain on one level, but on another level I sincerely hope that that are provocative enough for an audience to question whom why, what, where.
Harry: I think I've answeres some of that earlier. We're not trying to 'educate', but we are trying to provoke a response. And yes, out main 'hero' characters do have a positive attitude to life. I know Zoot is very popular (some of you guys are very weird!) but would you really like him as your own best mate? Boyfriend? You could argue that he is being positive in his own way, I guess, the only way he knows how in a dangerous world, but putting the world back together again isn't just about looking after number one, is it?
What do you feel is the best thing about the Tribe - and why?
Raymond: I think the best thing about The Tribe is its vision and scope and the fact that it is a landmark series - and a brave one for all concerned to embark upon.
Harry: Everything. I love it. It's a crazy world and guess what? It's set to get crazier yet!
What advice would you give to anybody reading this who might have their own idea for a series - how should they go about progressing it?
Raymond: Writing is like everything else in life and if a person believes in something then they must vigorously pursue it no matter what anyone else thinks if they believe in their heart that what they are seeking is right. No-one has a monopoly on what is good or bad in writing - it is purely subjective and it has been my experience that the key to success as a writer - like anything else in life - is patience and persistance. Nothing succeeds like persistance - but it can take some time and this requires patience.
Harry: The most common problem about series ideas is that though they may be exciting initially, they often don't have what we call 'legs' in our business. That means the premise won't hold or develop over a period of time. So my best advice is, don't write episode one, write episode ten, or a hundred and ten. If it's still exciting then, you may have a winner.
Is The Tribe a one-off series or an on-going series?
Raymond: Harry Duffin and I, and indeed all members of the Cloud 9 team, believe that The Tribe can run forever. But the ultimate deciding factor is the audience. As long as the fans want to view the series and then every member of the team will be happy to produce it.
Harry: Ray and I think it can last forever. But that's for you guys to decide. It'll last as long as you watch it.
When is the tribe set - how long after the adults disappeared?
Raymond: Notionally we think in terms of 9 months after the adults disappear.
Harry: We figured about six to nine months.
The Tribe is a science fiction television programme, created by Raymond Thompson and his production company Cloud 9, and shot in New Zealand. It is set in a hypothetical near-future in which all adults have died and the world has become an anarchy of child gangs. It is primarily aimed at children and teenagers, though its fans do range through all ages. As of 2005, five series of The Tribe have been created, with over 260 episodes having been shot.
Actors that have appeared in all five series to date are Caleb Ross (Lex), Meryl Cassie (Ebony), Victoria Spence (Salene), Antonia Prebble (Trudy), Michael Wesley-Smith (Jack)
The Tribe has been shown in over 40 countries around the world and has a built up a large fan base. Countries that have shown some or all series of The Tribe include New Zealand, Australia, Ireland, the United Kingdom, Germany, Israel, France, The Netherlands, Norway, Finland, Estonia, the US, Spain, Serbia and Montenegro, Croatia, Ukraine . In the US The Tribe is aired on the digital cable TV channel WAM!, as well as Encore MoviePlex, and most recently syndicated to a variety of broadcast stations throughout the US. In the UK it has been shown on the terrestrial channel Five.
Cloud 9 has created a sequel to The Tribe which is called The New Tomorrow. It is set at period of time after the events of The Tribe series 5.
Throughout the five series' there has been a gradual shift in stories away from the problems and issues faced by teenagers which were predominant in the first series to stories focused more on the science fiction elements. However, the fifth season did go someway back to the original idea, featuring issues about alcoholism, sibling rivalry, jealousy, sexuality, sexual relationships and pregnancy worries alongside those of virtual reality, artificial intelligence and genetic modification of viruses.
The first series is set in a world where all the adults have died from a disastrous virus. We are introduced to a group of children who decide to form a home in an abandoned shopping mall - the Phoenix Mall together. They eventually call themselves Mall Rats. We see them struggle through their daily life searching for food and water, creating electricity and fighting off dangers and attacks from other tribes such as the Demon Dogs, Tribe Circus and, the worst of all, The Locos. The characters also have to deal with common teenage problems such as teenage pregnancy, eating disorders, broken bones and the development of attractions. Towards the end of the series the virus that had killed all the adults has mutated and now affects children. In the last episodes we see the Mall Rats setting off to a quest for the antidote.
In series two we follow the Mall Rats again as they cope with the apparent death of two of their loved members Amber and Zandra, while also continuing the search for the antidote. Danni, Alice and Ellie are also introduced in this series. Eventually theMallrats find the cure, but then have to decide how they are to create more and distribute it to all the other tribes . Later in the series a new cult, calling themselves "The Chosen", appears in the city and starts to kidnap and brainwash people. The Mall Rats are also affected by this when Trudy and her baby, Brady, are kidnapped; 'The Chosen' consider Trudy's baby to be 'The Divine Child' as her father was Zoot, whom the Chosen have elevated to God status. The series ends with many of the city's tribe leaders and most of the Mall Rats being rounded up and taken prisoner by The Chosen.
Series three starts with some of the Mall Rats being held prisoner in the mall as the Chosen make the Phoenix Mall their head-quarters. However, the Mall Rats who were not captured leave the city. They come across a group called the Gaians, or Ecos, whose leader Eagle (Amber) was once a Mall Rat, but who was thought to have died long ago. A resistance is set up and both the Supreme Mother and the Divine Child can be secured out of the city. Eventually the rebels can overcome the Chosen and win back the city with the help of countryside-tribes. A city wide election is held, and Ebony is elected as the city leader (now that was a wrong move). She expels Bray and pregnant Amber from the city and makes herself a virtual dictator. The series ends with the sight of aeroplanes flying over the city: a sight not seen since before the virus hit. Are adults that somehow survived the virus coming back?
The fourth series immediately tells us the aeroplanes are not flown by adults, but a tribe known as The Technos. They seem to offer hope and prosperity by saying they will open hospitals and arrange for water and electricity, but all this comes at a big price: many people are taken away from the city to work in the mines or work camps and nothing is heard about them. Those left in the city are offered the chance to play a new virtual reality game. It turns the city kids into addicts, who, when the Technos start bribing them by offering "credits" to play the game in return for working in the power station, spend their days either playing with their headsets on or shoveling coal. Electricity is eventually turned on, and the Mall Rats open a hospital. However, the city situation becomes precarious when more and more people fall prey to the VR game. The Mall Rats, with the help from some ex-Technos, finally overturn the Techno leader Ram, who had made plans to live in Virtual Reality full-time, but is quite literally thrown on the scrap heap at the end of the series.
One of its stars was Dan Weekes-Hannah (Ved), who is mostly notable for getting fired mid-year for skipping town with co-star Jaimee Kaire-Gataulu (Cloe) on a day he was scheduled to be filmed, causing Cloud 9 a 100 000 NZ dollar lost..
The fifth series sees the series split between several locations, both in and out of the city. In the city, the remaining Technos assure the Mall Rats that they want to co-operate. A new tribe, the Zootists, forms and tries to take advantage of the weakened situation in the city. Meanwhile, a small Western-style village called Liberty turns into a hot spot as several new and old characters (including Ram, the deposed Techno leader) find accommodation in its saloon. As the series develops we discover that the Zootists are a ploy by the new Techno leader Mega to regain control of the city. He plays a vicious game by publicly demonizing this tribe and advocating the need for a safety zone, fenced-off with secure exit and entrance points. He gradually extends the safe zone to gain a stronger control of the city. In Liberty, a resistance with the goal of taking the tyrannic city leader down is set up. The overthrow is successful; however, even though the Mall Rats are back in control, there are things happening beyond their reach. The Technos had developed several projects that now spin out of control: the creation of an Artificial Intelligence (AI) and a new virus. The AI develops too quickly and comes to the inevitable conclusion that human beings are a threat to the world. Its attempt to eliminiate humankind is prevented, but not before a generator next to the virus-container goes critical. The Mall Rats inform the rest of the city in the hopes that people will evacuate themselves before the generator blows up, thereby releasing the baleful virus. The Mall Rats barely manage to escape on a boat, leaving their home behind for an unknown future. As Ellie said: ⤽This is our home...⤽ and Lex answered her:⤽ Not anymore.⤽