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We’ve got the elections this year and that means everything is up in the air.

Simon Bridges says he’ll likely reverse the TVNZ-RNZ merger if National gets back into power.

The Film Industry Working Group’s recommendations around collective bargaining for the screen industry could go out the window.

NZ On Air could get an increase in funding… Or not.

There is some certainty in the media space, though. My predictions:

TVNZ will continue to lose money as long as it stays the way it is, no matter how good a job Kevin Kendrick does (and by all accounts he’s doing a good one).

TV3 will face the same uncertain future it has since it started in 1989, even with a new owner.

The NZ Screen Sector Strategy 2030 will… do something good, bad or indifferent (industry bets seem to be on either of the latter two at the moment).

NZ On Air will have a new CEO shortly—whether it’s a great opportunity for someone new to make a mark or a hospital pass will come clear by the end of 2020.

And the rest of the world, including Australia, will keep capitalising on the demand for internationally-focused TV drama produced locally.

At DEGNZ, it’s very much steady as she goes.

We have a strong board in place who are highly proactive around key issues for us and the industry.

Our focuses strategically will be copyright, collective bargaining legislation, post-production workflow and training, and keeping an eye on the vocational education work being done by various entities, which will get a lot of attention in 2020. There are, of course, always unexpected developments that need a response and we’ll stay alert to these as the need arises.

As a union now affiliated to the Council of Trade Unions, we will have an opportunity to sharpen our skills and knowledge with them in preparation for negotiations should the collective bargaining legislation go through.

We’ll continue to provide membership services including our professional development programme, thanks to the financial support of NZFC, the Vista Foundation, the Australian Screen Directors Authorship Collecting Society, accounting firm VCFO, and with the support of Resene, Event Cinemas, Rialto Cinemas, Dominion Law and Handy Training Online.

We’ll maintain our partnerships on various activities with the NZ Writers Guild, Equity NZ, SCGNZ, NZAPG, SPADA, WIFT, Ngā Aho Whakaari, NZCS and look to forge a relationship with the newly-formed PASC.

DEGNZ is committed as we always say to ‘the creative, cultural and financial well-being of New Zealand directors and editors’.

With the shake-ups in our domestic screen industry scene including more SVODs coming online, and on the international stage with Brexit, the U.S. elections, and the novel coronavirus, we hope that you will join with us as we head into what is undoubtedly going to be a tumultuous 2020.

 

Tui Ruwhiu
Executive Director

 

 

 

 

 

DEGNZ

Brendon Chan has been selected as the attachment to editor Peter Roberts on feature film Juniper as part of the Directors & Editors Guild of NZ’s ongoing Drama Editor Attachment Scheme.

Brendon ChanBrendon entered post production in 2010 as an assistant editor, where he worked on feature films, such as Born to Dance, Hunt for the Wilderpeople and Black Christmas.

He made the leap to editing full time in 2017, working across a broad range of television, web and film content. His work includes Associate Editor on Turbo Kid, Additional Editor on 6 Days and Assembly Editor on Do No Harm.

I’m really stoked about being selected for the drama attachment. I’m looking forward to closely examining the feature film editing process from assembly to locked cut, particularly the creative collaborations that take place between Editors, Directors and Producers,” said Brendon. “I’m also excited to observe Peter’s very genuine approach to storytelling and collaboration up close.”

Brendon begins his attachment in February.

The DEGNZ Drama Editor Attachment Scheme was initiated to give emerging drama editors the opportunity to advance their craft through shadowing and mentoring from an experienced drama editor. Recipients 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. The scheme is made possible thanks to funding from the New Zealand Film Commission.

Juniper is directed by Matthew Saville, produced by Desray Armstrong and Angela Littlejohn and edited by Peter Roberts. On returning home from boarding school, a self-destructive teenager discovers his gin-soaked grandmother has moved in. A battle of wills ensues which enables him to embrace life again, and her to face her own mortality.

DEGNZ is excited to be able to offer a third member of the Guild a Drama Editor Attachment on a New Zealand feature-length film. Previous attachment recipients are Rotorua-based editor Lea McLean who is currently completing her attachment to Annie Collins on Coming Home in the Dark, and Anastasia Doniants to editor Paul Sutorius on telefeature A War Story.