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We are excited to announce that the DEGNZ Women Filmmakers Incubator will be going online in 2020 during the COVID-19 crisis and will resume face-to-face workshops when safe to do so.

The Directors & Editors Guild of NZ is now accepting applications from female directors to take part in the fourth year of this talent development programme.

Background

The overall vision of the DEGNZ Women Filmmakers Incubator is to empower the participating directors with the confidence, knowledge and connections that they can use to go on and direct a feature film, drama or scripted series.

The Incubator is intended primarily for emerging debut directors of feature film (drama or documentary), but will also consider those wishing to establish careers in TV drama and scripted content.

Applicants must apply with a project, but the Incubator is primarily focused on filmmaker development, not project development.

The objectives of the Incubator are:

  • Increase the number of women directing features and TV drama.
  • Connect producers, broadcasters and funders with female directors with a view to getting more female-centric stories into and through development.
  • Create networking opportunities for women directors to further their projects and careers.
  • Inspire and encourage women directors to passionately pursue feature film and drama directing careers through interaction with successful women who serve as role models.
  • Improve directors’ understanding of the business of film and television drama.

The Incubator comprises five one-day workshops across 2020 with the first scheduled to take place in May 2020. Participants need access to a computer (recommended) or mobile to participate in online workshops via Zoom. If it becomes safe to resume public gatherings, remaining workshops will be held in Auckland. A travel allowance will be available for participants based in other regions.

The workshops are individually themed to provide specific knowledge, networks, skills, and inspiration that enable participants to advance themselves and their careers. As the global screen industry undergoes constant change during this turbulent time, DEGNZ will remain flexible as to the actual content of the programme, seeking to incorporate information and opportunities that are relevant.

Eligibility

All applicants will be expected to have a good level of directing experience with scripted content, such as acclaimed web series, shorts with festival success, TV commercials, or broadcast content.

Applicants must:

  • Have an active project (feature film, documentary feature, telefeature, TV/online drama or scripted series) in development that has never been presented to a broadcaster or funder. It is preferable that the project is at least at first draft script but if not available, there must be a detailed treatment for the project.
  • Have experience as a director of scripted content (drama, comedy) or documentary in the form of the project they are submitting, i.e. if you are applying with a narrative drama project, you must have experience directing narrative drama or if it’s comedy, experience directing comedy, etc.
  • For feature film, be a debut director.
  • Be available to participate in all workshops.
  • Be a NZ Citizen or permanent resident.

Membership

Selected participants must be DEGNZ members for the duration of the Incubator programme; they can be on either a Full or Associate membership level until 1 October 2020 as the Guild has reviewed its memberships in response to COVID-19. After 1 October, participants are required to be Full members, unless the Guild has decided to extend its Membership Holiday programme.

Selection Process

A selection panel will shortlist candidates. Shortlisted candidates must be available for a one-on-one interview via Zoom to be held around the end of April 2020. Getting an interview does not imply that you have been selected for the Incubator.

If shortlisted, you will be expected to immediately supply prior to the interview a detailed treatment of your project (different to your 1-page synopsis). The treatment needs to be within a minimum of 5 pages to a maximum of 10 pages.

The Incubator participants will be selected from the shortlist following the interview.

Decisions will be final and no correspondence will be entered into.

How to Apply

Application Deadline: 5PM, Friday 17 April 2020

Application Requirements:

  1. Completed DEGNZ Women Filmmakers Incubator Application Cover Sheet. Available here
  2. A one-page synopsis of the project with the ending revealed.
  3. A maximum two-page letter stating what your career goals are and why you want to participate in this Incubator.
  4. A one-page bio (not a CV).
  5. A filmography and links to completed work that supports the project you are including with this application.

Compile your documents into one single PDF* in the order matching requirements 1 – 5.

Give the single PDF the following naming convention: (YourName)_DEGNZWomenFilmmakersIncubator_2020

Send your application to admin@degnz.co.nz with DEGNZWFI2020 in the subject line.

 

* Online PDF merge tool

 

The Incubator is made possible thanks to the generous support of the New Zealand Film Commission.

NZFC

DEGNZ

DEGNZ is pleased to be able to offer the Women Filmmakers Incubator for a third year in 2019. We now welcome applications from female directors to be a part of this programme.

Background

The overall vision of the DEGNZ Women Filmmakers Incubator is to empower the participating directors with the confidence, knowledge and connections that they can use to go on and direct a feature film, drama or scripted series.

The Incubator is intended primarily for emerging debut directors of feature film (drama or documentary), but will also consider those wishing to establish careers in TV drama and scripted content.

Applicants must apply with a project, but the Incubator is primarily focused on filmmaker development, not project development.

The objectives of the Incubator are:

  • Improve writers and/or directors’ understanding of the business of film and television drama.
  • Increase the number of women directing features and TV drama.
  • Connect producers, broadcasters and funders with female directors with a view to getting more female-centric stories into and through development.
  • Create networking opportunities for women directors to further their projects and careers.
  • Inspire and encourage women directors to passionately pursue feature film and drama directing careers through interaction with successful women who serve as role models.

The Incubator comprises five one-day workshops across an approximate 12-month period with the first scheduled to take place in March 2019.

The workshops are individually themed to provide specific knowledge, networks, skills, and inspiration that enable participants to advance themselves and their careers.

The DEGNZ Women Filmmakers Incubator in 2018.

Eligibility

All applicants will be expected to have a good level of directing experience with scripted content such as acclaimed web series, shorts with festival success, TV commercials, or broadcast content.

Applicants must:

  • Have an active project (feature film, documentary feature, telefeature, TV or web drama or scripted series) in development that has NEVER been presented to a broadcaster or funder. It is preferable that the project is at least at first draft script, but if not available there must be a detailed treatment for the project.
  • Have experience as a director of scripted content (drama, comedy) or documentary in the form of the project they are submitting, i.e. if you are applying with a narrative drama project, you must have experience directing narrative drama or if it’s comedy, experience directing comedy, etc.
  • For feature film, be a debut director.
  • Be available to participate in all workshops.

Application & Selection Process

A selection panel comprising DEGNZ board members and senior industry practitioners will shortlist candidates. Shortlisted candidates must be available for a one-on-one interview either in person or via Skype to be held around the end of February/early March 2019.

If shortlisted, you will be expected to immediately supply prior to the interview a detailed treatment of your project (different to your 1-page synopsis). The treatment needs to be within a minimum of 5-pages to a maximum of 10-pages.

Decisions will be final and no correspondence will be entered into. The Incubator participants will be selected from the shortlist following the interview—getting an interview does not imply that you have been selected for the Incubator.

Every Incubator participant must be a Full DEGNZ member for the full duration of the Incubator course.

The workshops will be held in Auckland. A travel allowance will be available for those successful applicants coming from other regions.

Application Requirements

  1. Completed DEGNZ Women Filmmakers Incubator Application Cover Sheet. Available here (updated)
  2. A one-page synopsis of the project with the ending revealed.
  3. A maximum two-page letter stating what your career goals are and why you want to participate in this Incubator.
  4. A one-page bio (not a CV).
  5. A filmography and links to completed work that supports the project you are including with this application.

How to Apply

Application Deadline: 4PM, Monday 25 February 2019

Compile your documents into one single PDF in the order matching requirements 1 – 5.

Give the single PDF the following naming convention: (YourName)_DEGNZWomenFilmmakersIncubator_2019

Send your application to admin@degnz.co.nz with DEGNZWFI2019 in the subject line.

 

The initiative is made possible thanks to the generous support of the New Zealand Film Commission and Vista Foundation.

NZFC

View from the Top banner

Womens’ roles in New Zealand society have come a long way. We were the first to give women the vote, we’ve had three female prime ministers and finally the Black Ferns have gotten professional contracts.

However, in many industries women do not receive equal pay (including the Black Ferns). There are few women sitting in governance positions in the New Zealand business world, and as we learned at the Sexual Harassment Workshop recently, the statistics on violence against women is horrific.

But in this week’s column I would like to help celebrate 125 years of women’s suffrage, by highlighting some successes in and around our industry.

Before I do, though, I want to first acknowledge the country’s most well-known suffragette Kate Sheppard and some of her colleagues, including Margaret Bullock, Meri Mangakāhia, Ākenehi Tōmoana, Anna Stout, Elizabeth Yates and Polly Plum. To honour our past, NZ On Screen has released their Pioneering Women collection that celebrates women and feminism in New Zealand.

I know that the statistics for women directors in NZ are still poor, and we are addressing this, but female directors have made great contributions to New Zealand film and television, from Ramai Heyward to Jane Campion, long-time Guild supporter Gaylene Preston to the achievements of Niki Caro.

As in suffrage there are other less well-known women who have made their mark in the screen industry. I would firstly like to acknowledge those who have contributed to the Guild (DEGNZ and its predecessor SDGNZ) as board members. Apologies if I have missed you out, but our records are incomplete. If you are not included here but should be, please let me know so that I can update our files:

Kristina Anderson

Kezia Barnett

Pietra Brettkelly

Annie Collins

Anna Cottrell

Alyx Duncan

Annie Goldson

Shirley Horrocks

Janette Howe

Louise Leitch

Roseanne Liang

Zoe McIntosh

Briar March

Kirstin Marcon

Fiona Millborn

Diane Musgrave

Aileen O’Sullivan

Leanne Pooley

Rather than go into a screed of copy about other New Zealand women who have stood out or are standing out in and around the screen industry, I am providing links to articles that are available now online. You can learn about some of the wonderful NZ women whose contributions we can all acknowledge:

I’d also like to point to a number of those who have a big influence in the screen industry and show that women are sitting at many of our top tables:

Kathleen Anderson, Head of Scripted, TVNZ

Christina Asher, Chairperson, NAW

Rachel Antony, CEO, Greenstone

Cass Avery, Chairperson, S2S

Melissa Ansell-Bridges, Industrial Organiser, Equity NZ

Karen Baleski, Head of Entertainment Content, SKY

Esther Cahill-Chiaroni, ED, S2S

Jude Callen, TV Commissioner, TVNZ

Sandy Gildea, ED, SPADA

Philly de Lacey, CEO, Screentime

Ruth Harley, Chairperson, NZ On Air

Frances Morton, Head of Content, Vice

Annie Murray, Senior Commissioner, SKY and Prime TV

 

Kelly Martin, CEO, SPP

Juliet Peterson, General Manager Digital Content, TVNZ

Kerry Prendergast, Chair, NZFC

Cate Slater, Content Director, TVNZ

Alice Shearman, ED, NZWG

Annabelle Sheehan, CEO, NZFC

Karla Rogers, ED, SIGANZ

Erina Tamepo, ED, NAW

Patricia Watson, ED, WIFT

Jennifer Ward Lealand, President, Equity NZ

Sue Woodfield, Head of Commissioning and External Production, Mediaworks

Kathy Wright, Head of Digital Creation, SKY

Jane Wrightson, CEO, NZ On Air

This past week has been a celebration of women’s achievements, including the Women of Influence Awards where actor and acting coach Miranda Harcourt took out the award for Woman of Influence Arts and Culture.

But perhaps the last words can be left to Dame Patsy Reddy, former chairperson of NZFC and now the Governor General. In a NZ Herald article earlier this year, she emphasised that while women had made many gains, there is still a long way to go.

Tui Ruwhiu
Executive Director

Sexual Harassment & Disclosure Hui

Why should you attend this important hui about sexual harassment & disclosure?

This practical workshop will help you to learn how to identify and most importantly deal with uncomfortable situations.

Everyone deserves to feel safe in their workspace or know how to respond when they don’t!

This presentation by Debbi Tohill, Executive Director of RPE (Rape Prevention Education) is a precursor to future workshops SWAG (Screen Women’s Action Group) will be organising. This will be a two-hour intensive covering the basics:

Exactly what is sexual harassment?
The continuum to sexual violence
Keeping yourself safe
Creating a safe environment
Knowing your rights
Reporting
Making your own decisions

WHEN  Wed 5 September, 6PM for a 6:30 start – 8:30PM
WHERE  St Columba Centre, 40 Vermont Street, Ponsonby, Auckland – carpark around the back

Free to attend!

Download flyer

 

NAW   NZWG   

View from the Top banner

The New Zealand Film Commission has just announced its Te Rautaki Māori strategy and that’s a great achievement, even though it comes 15 years after New Zealand On Air’s—better late than never.

It’s no secret that Māori films are New Zealand’s most successful both domestically and internationally. Pākēha producers certainly cottoned onto this a long time ago—John Barnett with Whale Rider, Robin Scholes with Once Were Warriors, and more recently Matthew Metcalfe with The Dead Lands.

There are a number of new initiatives to help drive the strategy with an ongoing fund of up to $2.5 million in investment for dramatic feature films made in Te Reo Māori, by Māori filmmakers; a Te Reo development fund; devolved funding supporting internships, mentoring and professional placements for Māori filmmakers; and rangatahi development in the form of wananga, workshops and programmes for young Māori creatives.

Additionally, a one-off $2 million investment for dramatic features in any genre where the director and at least one other key creative is Māori, which some critics might say is there to allow pākēha to keep dipping their toes in the Māori pie.

Criticism aside, Te Rautaki is a significant stake in the ground by the Film Commission that goes along with the changes they propose internally to address representation, protocols and capacity and capability.

Te Rautaki is warmly welcomed by my colleagues at Ngā Aho Whakaari who I’ve been speaking to. And by DEGNZ.

NZFC must also be complimented for continuing to address gender inequity with the announcement of the 125 Fund.

The fund is open to dramatic features in any genre and is offering an investment of $1.25 million each for up to two projects where the director and at least one other key creative is a woman. Critics would also undoubtedly say that this keeps men in the game, too.

With the Budget soon to be announced by the Government, we can only hope that additional funding will be allocated to NZFC as well as to NZ On Air and Radio NZ. Rather than cutting into the essentially static funding the Film Commish has been operating on in the last few years (Screen Production Grant aside), it would be nice to know that these dedicated initiatives are being resourced with new funds rather than taking from existing.

Congratulations New Zealand Film Commission on these efforts! We look forward to the films that will come from them.

Tui Ruwhiu
Executive Director