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With the Big Screen Symposium about to kick off tomorrow, it’s yet another recent event at which to be thankful for, for our Government’s response to COVID. We can gather in big numbers will little concern for the spread of the virus, while in many other places around the world the statistics of COVID sickness and death are horrific. I was extremely pleased to hear yesterday that our Trans-Tasman cousins can now travel interstate, relatively freely.

 

And talking of our Aussie cousins, we have a new head at the Australian Directors’ Guild in Alaric McCausland. Alaric has a screen executive background in Australia and internationally, bringing a slightly different focus over his last two predecessors. As always, DEGNZ seeks a strong relationship with the ADG, with my first call with Alaric cordial, informative and supportive.

 

NZFC, NZ On Air and TMP obviously got more feedback than they bargained for in regard to the Premium Productions for International Audiences Fund. They are now late in getting the final criteria out—perhaps they will show at BSS. I have to imagine the number of applications to the fund is going to be as voluminous as the feedback was.

 

I heard yesterday that TV3 is now officially in the hands of Discovery. A Stuff article here. Being run as an Australasian service, it will be interesting to see what opportunities come for local content makers in the trans-Tasman tie, with Discovery’s global network and the planned launch of a streaming service here making for exciting possibilities.

 

Over at Sky they’ve got a new CEO in Sophie Moloney. Martin Stewart wears the blood splashes of his restructuring as he heads back to the UK, and Moloney offers an experienced, friendly, female and kotahitanga approach as she takes Sky forward. Unity is certainly needed in an organisation reeling from job losses.

 

TVNZ’s GM Local Content Nevak Rogers came with Drama and Scripted Comedy Commissioner Steve Barr to talk to our Emerging Women Filmmakers participants at their fifth and final workshop. Nevak was pleased to tell me that TVNZ is now spending around $100 million on local content, which is besting the highest spend during the Charter years at TVNZ. For those not old enough to know what the charter was, this from Wikipedia:

 

The Labour Government introduced a “TVNZ Charter” in 2002. This was a list of objectives for TVNZ which specified it must broadcast a wide variety of New Zealand-made content; the broadcaster was given public responsibility to provide news, drama, documentaries and “promote understanding of the diversity of cultures”. In 2008 the Government announced that the broadcaster was to become “more public-service” like. TVNZ responded by launching two commercial free channels; TVNZ 6 and TVNZ 7. By 2011 Prime Minister John Key announced the closure of these channels. 6 in 2011, and 7 in mid-2012, with much of their content put into TVNZ Heartland and TVNZ Kidzone24 which are only available behind a Sky TV paywall. The National Government abolished the Charter in 2011. Political opponents accused the Government of reducing TVNZ’s commitments as a public broadcaster.

 

Just this week at the NZ On Air end-of-year function, Broadcasting Minister Chris Faafoi reaffirmed his commitment to public broadcasting via a video address. Back in October, Faafoi announced that the TVNZ – RNZ merger discussion was back on the table. The partially completed and partially redacted PWC consultant’s report released in September, however, didn’t outline the benefits of combining the broadcasters into a single entity or state how TVNZ or RNZ’s services would change if the proposal was approved. Just what is going to happen and when seems entirely open to discussion. Dealing with COVID and its impacts provides wonderful cover for doing nothing for quite a while yet. Let’s hope something good comes of it sooner.

 

Finally, the DEGNZ Workflow Best Practice Guide, driven by board member and  long-time, drama and documentary editor Annie Collins, continues to win rave reviews. If you want to save your production time and money and yourself stress, become very familiar with the content, available on our website here.

 

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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As Minister of Broadcasting Kris Faafoi gets set to decide the New Zealand broadcasting industry’s future with hopefully sound advice that includes a note that the industry is more than just News and Current Affairs, I postulate further on possible answers to our dilemma to stimulate further debate and discussion.

Countries with strong public broadcasters are those with compulsory broadcast licence fees. In Denmark, with a population of just over five million, the licence fee of €332 (NZ$579) generates €4.4 billion (NZ$7,671,308,423). Danish public broadcaster DR operates six TV channels and eight radio channels with this revenue. Norway, which has a similar population to Denmark, has a licence fee of €315. Its public broadaster NRK runs three national TV channels and three national radio channels. Countries that still have licence fees include the U.K., Germany, France, Spain, Ireland, Switzerland, Japan, Italy, the Netherlands and South Korea.

A licence fee in New Zealand of just NZ$125 applied to the estimated 1,765,100 households in the country would generate nearly $220 million dollars annually. This would cover the costs to fund Radio NZ ($35 million) and Māori Television ($45 million), administer the licence fee (est. $20 million) and leave $120 million.

If the $120 million were combined with Radio NZ’s $35 mil., a newly created public broadcaster would have $155 million of muscle. This entity could deliver quality News and Current Affairs (est. $50 mil.) and would have $105 million—almost the same level of funding NZ On Air has after the ring-fenced Radio NZ funding is deducted—to create a Public Broadcaster Fund to make great factual and scripted programming for both domestic use and international sales. To help secure the independent production sector’s future, this broadcaster could be required to outsource for factual and scripted ideas and their production. Sales revenue could go back to the broadcaster and the independents to contribute towards their sustainability.

In an added approach, the Government could continue to fund NZ On Air the annual $115 million it now receives. This NZ On Air Fund could be contestable and exclusively for the commercial channels and platforms, both Free-to-Air and those with paywalls. Once again, independent producers could pitch on this contestable fund with a percentage, say 75%, being ring-fenced for the independent sector.

The commercial channels and platforms could be required to pay a commercially appropriate licence fee for this content that acknowledges the real value that local NZ content would bring to them. After all, they are commercial with the Free-to-Airs able to scoop up any advertising revenue going, while the SVODs would get the subscription revenues. Funding levels would be determined by the quality of the idea, the scale of the proposed production and the audience size.

A means to extract revenues from streamers and international serviced productions coming here would need to be found to decrease and hopefully eventually eliminate Government funding in the NZ On Air Fund.

The Public Broadcaster Fund and the NZ On Air Fund should allow for access to the New Zealand Screen Production Grant (NZSPG) so that producers can more easily pitch and finance shows that have truly global potential. The NZ On Air Fund should retain the current NZSPG requirements of 25% or more of non-NZ production funding and a minimum of 10% market money to ensure the shows have real international appeal. And while we are at it, the NZSPG’s Qualifying New Zealand Production Expenditure (QNZPE) minimum should be reduced from $2.5 million to $500k so that films with lower budgets can access NZSPG. Some thought may well have to be given to the QNZPE for TV as well.

The above could potentially solve a number of issues:

  1. Give us a well funded public broadcaster.
  2. Ensure that the independent production community would still exist and be able to make the most of opportunities both domestically and internationally.
  3. Allow the commercial broadcasters and platforms to live to fight another day with all the advertising revenue available while giving them valuable local content.
  4. Make the streamers and international productions contribute to the growth of local IP and production.

All that’s needed for this to occur would be for the NZ public to buy into the need to pay a licence fee.

I would.

Would you and everyone else?

Tui Ruwhiu
Executive Director