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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

 

 

 

 

 

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It has been a big year for DEGNZ and the Screen Industry.

At the Guild we have unionised, and we have recently been accepted by the New Zealand Council of Trade Unions (CTU) as an affiliate. We are now well poised to represent New Zealand directors and editors in negotiations over minimum rates and terms and conditions should the proposed legislation go through next year that will allow collective bargaining for contractors. There are a number of other key benefits to our unionising. We are much more closely aligned with the New Zealand Writers Guild and Equity New Zealand, both of who are also unions and affiliates of the CTU. As representatives of three of the four above-the-line creatives, we have many common interests when it comes to our relationships with producers. The CTU has experience, expertise and resources we can call upon. And internationally, we now have have equal status with the Directors Guild of America, the Directors Guild of Canada and the Australian Directors Guild, who are also labour unions.

DEGNZ became a founding member of the Alliance of Asia-Pacific Audiovisual Writers and Directors (AAPA) following DEGNZ’s attendance in May at the General Assembly of the International Confederation of Societies of Authors and Composers (CISAC) and the Executive Committee Meeting of Writers and Directors Worldwide (W & DW). This has already paid dividends with the Director General of CISAC Gadi Oron here last week to help us lobby the Ministry of Business Innovation and Employment (MBIE), the Minister of Broadcasting, Communications and Digital Media Kris Faafoi and others over director’s copyright and fair remuneration for authors as the Copyright Act Review continues. Gadi is a lawyer and copyright expert and brings an important international perspective to the deliberations.

The Guild continues to input into the Film Industry Working Group (FIWG) as drafting of the proposed legislation to go to the House is finalised, and we have made considerable effort to put our views across as the NZ Screen Sector Strategy 2030 has gone about its work. DEGNZ board member Michael Duignan has played an important role with the Strategy as a member of its Facilitation Group.

DEGNZ worked closely with Equity as it updated its Guidelines for Nudity and Intimacy on Stage and Screen, and Guild board member and South Island representative Louise Leitch went through the full training conducted by UK Intimacy Coordinator Ita O’Brien on best practise guidelines for intimacy, simulated sex and nudity on set. Louise ran her first workshop for this in Christchurch in November, and we will look to her to continue this work so that all directors can have the opportunity to upskill in this critical area. As well, we maintain ongoing feedback to the Screen Women Action Group (SWAG) as it goes about its efforts to change the culture that enables bullying, harassment, discrimination and other abuses of power over women in the screen industry.

2019 was the third year we ran the Emerging Women Filmmakers Incubator to help address the poor numbers of women directing feature films in New Zealand, and to help female directors advance their projects and careers. We have now seen 23 women go through the Incubator to date and there has been good progress:

  • One has made her first feature,
  • one has just received production finance for her first feature,
  • one has gone on to work regularly as a TV drama director
  • one has moved into directing commercials as she continues to pursue feature directing,
  • one has entered the Shortland Street Directors Programme,
  • one will direct her first TV drama on a U.S. series next year,
  • two have entered the NZ Advertising Producer Guild’s Female Commercial Director Mentorship Programme

and all the others are driving forward on their careers and projects. We still have a ways to go to address the inequities in the numbers of women having sustainable careers as directors, but we are making some headway.

We maintain an extensive professional development programme for directors and editors. In particular, we have honed in on post production workflow and assistant editors as this has proven to be a problematic area because of the technical knowledge and skill required to ensure projects run effectively and eficiently. Our work on this has been driven by our three editor board members Annie Collins, Francis Glenday and Margot Francis. These three are also shaping the  standard feature film editor agreement we plan to make available in the first quarter of 2020.

As we close out the year we have just learned that Minister Faafoi will not be making an announcement about the future of TVNZ and RNZ. We expect that the merger will go ahead but there is obviously a significant cost associated with this, and it will be on an annual basis, not a one-off. The article on the RNZ website today mooted the possibility of increased funding for NZ On Air. This would be welcomed by many, as would an increase in funding for NZFC who have far greater calls on monies than their budget allows for. We shall have to wait and see.

I want to thank the membership for their continued support of the Guild in 2019. DEGNZ is committed as our slogan says to the creative, financial and cultural wellbeing of New Zealand directors and editors. We have a dynamic board in President Howard Taylor, Vice President Louise Leitch, Treasurer Phil Gore, and board members Annie Collins, Michael Duignan, Margot Francis, Francis Glenday, Roseanne Liang, Robyn Paterson and Gabriel Reid who work voluntarily and tirelessly on our behalves and have been tremendous support to me throughout the year.

I also want to thank my Events and Marketing Manager Tema Pua and Accounts person Caroline Harrow who keep the Guild operations functioning smoothly.

Thanks also go to the other guilds and associations we have worked with across the year, whether it be in our workshops, seminars and networking and social functions, or on the bigger picture representations we have made such as the FIWG and Screen Sector Strategy. We are all in this together even though we may have different perspectives and positions.

Finally, I want to extend our gratitude to our core financial supporters the New Zealand Film Commission, NZ On Air,  Vista Foundation and the Australian Screen Directors Authorship Collection Society, without who we would not be able to deliver many of the services we do, and to our other sponsors accounting firm VCFO Group and Dominion Law.

Wishing you all a Meri Kirihimete and a Happy New Year for 2020!

 

Tui Ruwhiu
Executive Director

 

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I had the good fortune to attend the Busan International Film Festival (BIFF) for the official launch of the Alliance of Asia-Pacific Audiovisual Writers and Directors (AAPA) last week. Guild president Howard Taylor signed the MOU for DEGNZ’s participation in this alliance in Tokyo in May.

AAPA is dedicated to serving as an independent and impartial advocate on behalf of the audiovisual creators community in the Asia-Pacific region and seeking to strengthen copyright protection.

Already we are benefitting from belonging to this Alliance with considerable support coming from Writers & Directors Worldwide (W & DW) and the International Federation of Societies of Authors and Composers (CISAC), under whose umbrellas the Alliance sits.

Present at BIFF were two guild members with their films: David Stubbs with his feature Daffodils, and Sam Kelly with Savage, which had its world premiere in Busan. It has been a while since a New Zealand feature was selected for BIFF, so it’s quite a coup to have two here. Congratulations to David and Sam for their achievements in getting their features into what is arguably still the most prestigious film festival in Asia.

While there, I took the opportunity to look at the feature film projects being pitched from around the Asian region, both by young emerging filmmakers and those more established. It was interesting to note the similarities and differences between what is happening across Asia and in New Zealand.

One of the first things that struck me was that like many aspiring New Zealand writer/directors, many Asian writer/directors expect to write a script from their treatment and have it move into production within one year. The average time for a film to move from initial idea to completion (if it does get made) in New Zealand and Australia is five to seven years. Case in point is Sam Kelly’s film Savage, which spent over six years in development. I asked Professor Darcy Parquet, who lectures in Korean film at the Busan Asian Film School, if in Asia it was unrealistic to expect such rapid progression. He agreed that it was.

Budgets also vary considerably. In speaking to one Japanese producer, I was told that indie film budgets in Japan typically sit in the range of US$30,000 – 300,000. Korea is a highly commercial market where indie films struggle as they do in Japan. Korean independent films have slightly higher indie budgets than Japan, but nowhere near the typical US$5 million budget a Korean commercial film gets. Elsewhere in Asia, indie film budgets seem to range from US$200,000 to US$600,000 – 750,000. An important consideration to remember is that there is not a lot of government support for film around Asia, unlike in New Zealand and Australia.

We are certainly not alone in wanting to tell dark dramas. In a number of pitches I heard, cancer and suicide featured frequently and there were quite a few tough films wanting to be told. This was balanced by genre or genre hybrid projects—a reflection I believe of the lower budgets, lack of government funding and a need to get returns for investors, as well as a desire to tell more genre stories.

Highly obvious at the Asian Film Market that sits alongside BIFF is the European presence. Many European organisations and producers are seeking to strengthen ties with Asia for co-production, which is the mainstay of the European film industry. There is also a fascination with Asia and its stories. Europeans, who are masters of co-production and have access to a variety of soft-funding sources, are searching out talented Asian filmmakers with strong stories to support. It’s such a pity that co-production in New Zealand and Australia is so limited by both attitudes and resources, as well as isolated by geographic distance. New Zealand has co-production agreements with South Korea, Singapore, China and Taiwan, but these are rarely used.

I’d have to say that I’ve never before met as many film festival programmers from other festivals before as I met here. That can probably be attributed to the fact that it’s a smaller market than others I’ve been lucky enough to attend. I think, however, that it’s another sign of the European interest in the region.

Streamers are having the same impact in Asia as is happening elsewhere, with the future of indie film still very uncertain. SVOD still hasn’t picked up the slack that DVDs used to bring in terms of revenue. That doesn’t seem to have slowed the Asian passion for indie features though. Everyone still seems to be rushing forward. But nobody it would seem is yet sure if it’s towards oblivion or a brighter future.

Tui Ruwhiu
Executive Director

 

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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

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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