Have Your Say on the DEGNZ’s Screen Sector Strategy Submission

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DEGNZ

DEGNZ will be providing a written submission to the Screen Sector Strategy NZ 2020 – 2030. We want to hear your thoughts!

DEGNZ has formulated 15 questions to help stimulate your thinking about the future of the New Zealand screen industry. You can answer as many or as few questions as you want. All responses that we receive by Monday 14 October will go into shaping the Guild’s submission.

Download Questionnaire

Please email your answers to us at admin@degnz.co.nz with ‘Questionnaire’ in the subject line.

The Screen Sector Strategy NZ has been engaging with the industry by holding hui around the country. A second Auckland hui has been announced. If you couldn’t make it to the first, here’s your chance to participate.

Monday 21 October, 12:30 – 3:30pm   Hatchbox @ GridAKL, Lvl 4, 12 Madden St, Wynyard Quarter, Auckland

It is a critical time for the New Zealand screen industry and we want to encourage everyone to have a say, so please make the most of the opportunity.

Ngā mihi,

Directors & Editors Guild of NZ

Pictures Worth a Thousand Words

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In my last blog editorial I wrote of Fair Remuneration and the meetings DEGNZ President Howard Taylor and I attended in Tokyo at the General Assembly of the International Confederation of Societies of Authors and Composers (CISAC) and Executive Council meeting of Writers & Directors Worldwide.

Rather than pen more words about this, here is a link to a 10 minute video produced by W & DW and other associated bodies on the discussions at the meetings of W & DW and the Directors Guild of Japan.

 

Tui Ruwhiu
Executive DIrector

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

Fair Remuneration Efforts

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Last week, Guild President Howard Taylor and I attended the General Assembly of the International Confederation of Societies of Authors and Composers (CISAC), and the Executive Committee meeting of Writers & Directors Worldwide (W & DW) in Tokyo.

The primary purpose for attending was to gain international support from the two bodies for DEGNZ’s efforts to win economic rights for directors in New Zealand.

Working with W & DW, we tabled a resolution to CISAC calling on the NZ Government to support the assigning of economic copyright to directors in New Zealand. The resolution was passed at the General Assembly.

Writers and Directors Worldwide Executive Committee meeting.

Another reason for our attendance was to participate in the formulation of an alliance of Guilds and Collective Management Organisations (CMOs—an example being ASDACS, the collection society for directors in Australasia) in the Asia-Pacific to strengthen our international presence in the region, and to work collaboratively with those bodies on areas of mutual interest.

DEGNZ President Howard Taylor signed a Memorandum of Understanding (MOU) together with the Directors Guild of Japan, the Directors Guild of Korea, the Australian Directors’ Guild, The Australian Screen Directors Authorship Collecting Society (ASDACS) and the Australian Writers’ Guild. We expect the number of bodies participating in the alliance to expand to other countries in the Asia-Pacific over time.

The MOU supports the formation of the Alliance of Asia-Pacific Audiovisual Writers and Directors (AAPA) for the purpose of:

  1. Serving as an independent and impartial advocate on behalf of the audiovisual creators’ community in the Asia-Pacific region;
  2. Seeking to strengthen copyright protection and to further the interests of audiovisual creators in the Asia-Pacific region.

In order to fulfil these goals:

  1. AAPA shall work with the support of Writers & Directors Worldwide to participate in the campaigns and activities of W & DW;
  2. AAPA shall establish further strategic alliances with similar audiovisual organisations in other territories globally.

DEGNZ President Howard Taylor signs MOU for Alliance of Asia Pacific Audio-visual Writers and Directors.

What became abundantly clear in our discussions with the Japanese and Korean directors guilds was that we are all in the same boat—directors in the Asia-Pacific and in many other countries do not have economic rights in their works, and consequently many struggle to have sustainable careers.

Our involvement with CISAC, W & DW and now AAPA are all geared towards achieving fair remuneration for directors in New Zealand, and elsewhere. This has long been a focus of CISAC and particularly W & DW internationally, and they have had a number of wins, most notably in South America.

Directors guilds and Writers and Directors Worldwide at the offices of the Directors Guild of Japan.

DEGNZ until now has essentially been standing alone in its efforts to win economic rights for directors, although we have received considerable support and assistance from the Australian Directors Guild and maintain relationships with the Directors Guild of America and Directors UK.

Participating collaboratively at an international level in order to win fair remuneration for directors only strengthens our efforts to do so here for New Zealand directors.

We look forward to collaborating with our international counterparts, particularly in the Asia-Pacific, as we continue to push for fair remuneration.

Tui Ruwhiu
Executive Director

6 Key Developments to Note

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There have been a significant number of developments that have occupied our time recently that are worthwhile highlighting.

Firstly, the Copyright Act Review Issues Paper submission.

DEGNZ made a submission, the primary focus of which was the call for recognition of director’s copyright in audiovisual content and cinematographic film. Directors are the authors of their audiovisual works and this needs to be recognised in New Zealand in the Copyright Act, as it is in many other countries around the world. With copyright, directors will be able to negotiate and receive income beyond solely fees that will help them to generate more creative work, and better sustain themselves in their careers. We have a long road to go to convince Government on this, and we need everyone’s help to do so. I hope that many of you were able to make your own personal submissions to assist us with our case. In future we will be looking to you again to support our efforts, particularly with personal statements about how the lack of recognition for directors in respect to copyright has adversely affected you economically and creatively in seeking sustainable careers for yourselves as directors.

Second, the Screen Industry Strategy.

Some of you may be aware of the formation of a body to respond to the Government’s call for industry to develop a 10-year screen industry strategy. DEGNZ has been extremely unhappy about how this group was formed and the lack of any real consultation and communication with the wider screen industry as it was set up. We have called on the proposed chair of this body, former broadcaster and now lawyer Linda Clark, to ensure clear communication and transparency with all parties in the screen industry as it goes about its work. DEGNZ board member and director Michael Duignan was invited into the facilitation group appointed to work alongside this body in response to our request for involvement. In the coming months we will have more to communicate with you about this very important initiative.

Third, unionisation.

Following the almost unanimous vote at the Annual General Meeting last year to unionise, DEGNZ has been working with legal representation to ensure our constitution meets the requirements of a union. The redrafting of the constitution has been completed and will be presented at this year’s AGM for adoption. This will formalise the Guild’s existence as a union and we will affiliate with the Council of Trade Unions soon after. Many of you will be aware that DEGNZ participated in the Film Industry Working Group along with a number of other guilds and bodies. It was convened by the Minister of Workplace Relations and Safety Iain Lees-Galloway, to find a way for screen industry workers to collectively bargain, and made its recommendations to the Minister after many months of discussion. We look forward to the Government following through and making the changes necessary to allow collective bargaining to occur. Unionisation is one facet of our preparations for the work the Guild will have to do when that happens.

Fourth, sexual harassment and intimacy on set.

DEGNZ board member and director Louise Leitch has been leading the Guild efforts in regard to sexual harassment and protocols around intimacy, simulated sex and nudity content. As Louise outlined in this column a couple of weeks ago, she has been working closely with Equity NZ on their Guidelines for Nudity and Intimacy on Stage and Screen. She also participated in the full workshop programme run by UK Intimacy Coordinator Ita O’Brien. It’s the Guild’s intention to offer an ongoing training programme for directors led by Louise and calling on highly experienced actor, instructor and Equity NZ president Jennifer Ward-Lealand, another full participant at Ita O’Brien’s workshops. At the same time, the Guild is maintaining close communication with the Screen Women’s Action Group as they go about their efforts to ensure a safe, sexual harassment-free workplace for screen industry workers.

Fifth, DVD library.

DEGNZ board member and director Gabriel Reid brought to the board’s attention the potential loss of a significant audiovisual resource with the closure of Auckland’s Videon DVD store this year. Videon had a broad collection of many arthouse, auteur director and hard to obtain DVDs. We all know that DVD stores have suffered immensely from the impact of streaming, with many closing down, and a lot of the DVDs that were available from Videon cannot be accessed digitally, or easily. Now Wellington institution Aro Video is suffering as Videon did. The DEGNZ board felt that something had to be done and quickly to preserve access for directors, editors and others to the rare and difficult to obtain films that Videon had on its shelves. In the fire sale that occurred at Videon, DEGNZ acquired over 3000 of their DVDs. We have these in storage and are currently negotiating a solution to see these held in an audiovisual library for access by anyone interested in these films for research purposes or entertainment. We will inform the membership how to go about this once negotiations are complete and the DVDs have all been catalogued.

Sixth, training for post-production.

DEGNZ board member and editor Annie Collins has been driving our strategic and tactical efforts around ensuring editors and others are trained appropriately for work during post-production. Annie is one of NZ’s most highly experienced narrative short, feature and documentary editors and is drawing on all of her accumulated knowledge as we structure current and future initiatives. The Assistant Editor workshops are one example of the outcomes from our focus in this area, the feature film editing attachments another. The work Annie is leading will hopefully introduce or stimulate other initiatives here.

I am thankful to have such a dedicated and supportive board working on behalf of the membership and their crafts. While our other board members haven’t been mentioned in this particular missive, I would also like to acknowledge board members Roseanne Liang, Phil Gore, Francis Glenday, and of course President Howard Taylor for their tireless efforts on behalf of the Guild. As well, we should recognise the invaluable contribution made by Advisory Board member and ex-board member Grant Campbell who represents the Guild on the board of the Australian Screen Directors Authorship Collecting Society and input into our Copyright Submission.

Finally, we can announce that editor Margot Francis and director Robyn Paterson have joined the DEGNZ board, replacing directors Helena Brook and Zoe McIntosh, who both had to step down because of work/personal commitments.

Tui Ruwhiu
Executive Director