Screenlink: Screen Content for the Global Market

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On July 15, DEGNZ, SPADA and WIFT warmly invites members to join us for a conversation on developing, producing and selling content that will have international appeal. Come and hear insights from a panel who have each achieved success in the international market.

Hear from Mark McNeill of Razor Films, executive producer of Dark Tourist, New Zealand’s only Netflix Original series to date; Paula Boock of Lippy Pictures, coming off the success of German-NZ co-production The Gulf with global distribution by Banijay Rights; and Steven Zanoski of Filthy Productions, which produced Bad Mothers for Australia and sold the format of Filthy Rich to Fox Network starring Kim Cattrall. They join moderator producer/writer Christina Milligan. 

WHEN: Mon 15 July, 6PM. Talk kicks off at 6:30PM.
WHERE: Horse & Trap – The Loft, 3 Enfield St, Mount Eden, Auckland

Cash bar
with nibbles provided after

This event is part of the Screenlink series by the Directors & Editors Guild of NZ, and hosted with the Screen Production and Development Association of NZ and Women in Film and Television NZ.

Registration

DEGNZ / SPADA / WIFT members – Free
Non-members – $5 koha (door entry, cash only)
Sorry, we are currently at full capacity. Email tema@degnz.co.nz to be added to the waitlist.

Film Industry Working Group Recommendations Should Include a Wider Group of Screen Workers

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DEGNZ

For Immediate Release

17 June 2019

The Directors & Editors Guild of NZ welcomes the Government’s initial response to the Film Industry Group (FIWG) recommendations, but feels that the proposed changes should apply to protect a wider group of workers in the screen industry.

“As currently outlined, the narrow application of the changes leaves the majority of directors and editors and many other screen workers out of collective bargaining,” said DEGNZ President Howard Taylor. “Those it applies to are generally already the most well paid with the best terms and conditions.”

“Explotiation of screen workers including directors and editors occurs most frequently in the online, reality and factual screen sectors. Under the proposed carve-out, new and mid-level practitioners will not be protected by any minimum standards, and will continue to suffer from poor working conditions and renumeration”

In a recent survey, Creative New Zealand and New Zealand On Air identified that the median personal annual income for creative professionals is around $35,800 – compared to $51,800 for all New Zealanders earning a wage or salary. When you take away other sources of income, the median income from creative work is only $15,000.

DEGNZ fully supports the two bodies joint strategic initiatives to improve the wellbeing of creative professionals, namely:

  • Fair reward – working towards:
    • ensuring lower-paid creative professionals are paid in line with technical professionals
    • lifting pay to the point where creative professionals start to feel it is a fair reward for their work.
  • Sustainability – working to make the careers of mid-career and established creative professionals more sustainable through more continuous creative endeavours.
  • Emerging creative professionals – working with the sector (including peak bodies and guilds) to find better ways to support creative professionals at the start of their career.

“We welcome the opportunity to work with Government during drafting of the legislation to expand the coverage of the changes” Taylor added. “Bringing as many screen workers as possible into collective bargaining would help to build a sustainable and vibrant creative sector in New Zealand.”

ENDS

For more information contact:

Tui Ruwhiu
Executive Director
Directors & Editors Guild of NZ
+64 21 659 950
tui@degnz.co.nz

The Directors & Editors Guild of NZ is a not-for-profit membership organisation that represents Directors and Editors in the New Zealand screen industry. This includes Directors and Editors of feature drama and documentary; television drama, documentary and factual programmes; short films; video art; animation; commercials and web content.

DEGNZ’s two primary roles are advocacy and professional development. We:

  • are dedicated to promoting excellence in the arts of directing and editing.
  • foster collegiality and unity within the screen industry.
  • promote members’ creative and economic rights.
  • work to improve industry working conditions and remuneration.
  • offer professional advice and information on contracts and industry standards and practice.
  • offer professional development events, networking opportunities, career advice, dispute resolution, mentoring, workshops, training, discounts and regular news bulletins for members across all levels of expertise, from novices to seasoned professionals.

DEGNZ is a voice for Directors and Editors in influencing policy in the interest of our members. We do this through our membership of the pan-industry group SINZ (Screen Industry New Zealand), and by making submissions to government and public officials.

Internationally, we work co-operatively with other guilds and we belong to the International Affiliation of English-Speaking Directors’ Organisations (IEASDO), and the Alliance of Asia-Pacific Audiovisual Writers And Directors (AAPA).

DEGNZ is Auckland-based with an office in Grey Lynn.

Contact Details:

Directors & Editors Guild of NZ
Level 2, 66 Surrey Crescent
Grey Lynn
P.O. Box 47-294, Ponsonby
Auckland
+64-9-360-2102
admin@degnz.co.nz
http://www.degnz.co.nz
www.facebook.com/degnz
www.linkedin.com/in/degnz
@degnz_online

DEGNZ Drama Editor Attachment Call for Applications

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DEGNZ

The DEGNZ Drama Editor Attachment Scheme is a new initiative giving emerging drama editors the opportunity to advance their craft through shadowing and mentoring from an experienced drama editor.

Emerging drama editors are invited to apply for our second DEGNZ Drama Editor Attachment. The successful candidate will attach to editor Annie Collins on feature film Coming Home in the Dark, directed by James Ashcroft.

Annie Collins has been editing film since 1975 and was the first independently trained editor in the country. Annie worked on the Lord of the Rings trilogy, and won awards for her editing work on Scarfies, Out of the Blue and Two Little Boys. More recently, she cut Tusi Tamasese’s Academy Award nominated feature One Thousand Ropes. Annie also has an extensive resume of documentaries, having edited such landmark productions as Patu! and The Neglected Miracle.

The DEGNZ Drama Editor Attachment initiative is targeted at editors who wish to move into feature film editing. Its purpose is to allow an emerging drama editor to:

  • learn through attendance during editing, and later at director, producer and or funding body screenings about the critique and response process so vital to the successful creative collaboration required of the feature film editor.
  • get on-the-job feature-editing experience.
  • receive feedback and mentoring from an experienced feature film editor in a safe environment.

The opportunity for the attachment to get limited hands-on cutting experience is possible but entirely at the discretion of the editor, director and producers of the production.

This is a paid Wellington based attachment and requires the successful candidate to start on Monday 15 July 2019 in Wellington. If non-Wellington based, the candidate must cover their own travel and living costs. They are also required to be a Full member of DEGNZ for the duration of their attachment.

The duration of the attachment would be up to a maximum of 30 full days, but may well be broken down into a mixture of full days and half days. The first week is expected to be full time.

Eligibility

To be eligible, applicants MUST:

  1. Be a FULL member of DEGNZ
  2. Be fully competent with the AVID editing system
  3. Have some past dramatic narrative editing experience (does not have to be extensive)
  4. Be available to participate fully during the post production period, starting 15 July
  5. Most importantly, have a passionate desire to become a feature film editor

To Apply

Application Deadline: 9AM, Thursday 27 June 2019

Send your application in a single PDF to tema@degnz.co.nz with ‘Editor Attachment’ in the subject line.

Your application must include:

  • a maximum 1-page letter on why you would like to do the attachment
  • your CV and filmography, including links to a showreel/video samples that illustrate your dramatic narrative work
  • a completed Editor Attachment Application Cover Sheet.

Download the Editor Attachment Application Cover Sheet

 

DEGNZ will notify you as to whether or not your application has been successful, but the decision will be final and no further correspondence will be entered into regarding your application.

We look forward to receiving your applications.

 

This workshop is brought to you with the generous support of the New Zealand Film Commission.

NZFC

Watch: Writing & Directing Fresh Eggs for TV

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Go behind-the-scenes into the creative process of making Fresh Eggs with co-creator/writer Nick Ward and producer/lead director Britta Hawkins. Fresh Eggs is a six-part black comedy for TVNZ 2, which follows a couple’s quest for “the good life” that goes wickedly awry. Q&A moderated by Gaysorn Thavat, another director on the show.

 

“If you’re ever doing a story table, ever working with other writers, just never say, ‘no’. Never ever say, ‘no’. The minute you start saying, ‘no’, is that’s when things get really messy.”

– Nick Ward

“There were lots of things that we did differently. We three directors ended up working as like one ensemble cast of directors, which is also not typical. Normally you come in and you do your block and then you go away. And you tend not to cross paths with the other directors at all.”

– Britta Hawkins

 

This event was part of DEGNZ’s Screenlink series, hosted with the New Zealand Writers Guild.

Audit of Directing Masterclass with Howard Fine

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DEGNZ invites members to audit the Directing Masterclass with acting coach Howard Fine who for over a quarter of a century has built an unshakable reputation as one of the most gifted acting teachers of his generation.

Auditing

Over the course of a day, auditors will gain access to Howard’s teaching and award-winning approach to performance as active observers of the Masterclass. You will observe Howard guide the participant directors workshopping scenes with paired actors. Howard will help directors learn how to articulate their visions effectively so that the actors can perform at the highest level.

Grounded in ideas that support authentic human behaviour, Howard’s approach aims to have the actors live authentically in an imaginary set of circumstances able to be newly alive each and every performance.

Auditors are given the opportunity to ask questions, and will be provided beforehand with the texts that the participants will be work-shopping.

About Howard Fine

Unique among his contemporaries, Howard is an award-winning acting coach, an award-winning author on acting and is the head of an award-winning acting studio. Howard Fine has trained Oscar, Golden Globe and Emmy-winning actors in the US, and AFI, AACTA and Logie winning actors in Australia. He has personally coached many of the world’s most notable, recognisable and decorated actors, including Jennifer Connelly, Will Smith, Bradley Cooper, Chris Pine, and Oscar winner Jared Leto. As the Creative Director of two permanent studios, Howard Fine splits his time between Los Angeles and Melbourne.

Workshop Details

When: Sun 23 June, 9am – 6pm

Where: AUT City Campus

Studio 1 (Blackbox Theatre) – WG210,
WG (Sir Paul Reeves) Building, Level 2
55 Wellesley Street East, Auckland

Price: DEGNZ members – Free

Register to Audit

Registrations close at 10AM, Wednesday 19 June.

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This workshop is brought to you in conjunction with The Equity Foundation and with the generous support of the New Zealand Film Commission.

NZFCequityfoundation