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NZ shotputter Valerie Adams

Congratulations to our members who have received conditional production financing offers in NZFC’s latest funding round. The NZFC Board approved a record $9.6 million across eight applications, including Stylebender and The Final Throw – The Dame Valerie Adams Story.

Zoe McIntosh is set to direct feature documentary Stylebender, which follows the story of a bullied Nigerian-New Zealander who must battle the world’s greatest UFC fighters, and his own demons, in his quest to become a global superstar.

Briar March is set to direct The Final Throw – The Dame Valerie Adams Story with Leanne Pooley set to produce.

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Scrolling through my Facebook feed yesterday to catch up on industry news, a Stuff article caught my eye. “Can Aotearoa make the screen the next primary industry?” the hook headline blared.

Diving into the article, I read that SIGANZ President Brendon Durey believes the “constrained” rebate doesn’t go far enough (the rebate offered to international productions shooting here) as other countries like the United Kingdom and Canada offer higher amounts. A white paper put together by educational outfits YooBee College of Design and UP Education calls for more Government money and resources to go into creativity education. And new Wellington outfit The Granary gets its marketing video promoting the use of LED technology backdrops showcased. Multiple handclaps to all three for getting their PR into Stuff.

My hat does go off to the educational outfits and The Granary, though, because they both promote the idea of local IP creation, with YouBee and Up giving a big plug to the possibilities with local stories and within the New Zealand gaming sector, while The Granary seeks to give Kiwi content creators a way to bring Hollywood tech pizazz to local production in an affordable manner.

One of the key reasons Aotearoa has a massive opportunity on its doorstep, journalist Andre Chumko tells us in the article, is that our sector “struggles to keep up with an unprecedented glut of production born from the Covid-19 pandemic.” I would suggest, however, that that glut isn’t going to continue unabated.

As the whole sector was wrestling during our first lock down with how to get back into production, I was having calls with the Directors Guild of America about what we were doing. NZ’s Screensafe COVID protocols were written up and out while the US guilds were still wondering what to do. Although slow to get their protocols in place, American production has for some time now been operating both domestically and internationally amidst the pandemic with strict guidelines that are keeping on-set infections low. Now, with the vaccine rolling out, the sleeping U.S. behemoth of backlogged productions and a year of new shows developed by showrunners and writers locked up in their homes is going to start hitting.

Will Aotearoa get a slice of that pie? Undoubtedly. As will Australia, which is seen as just as safe as New Zealand by Americans, but with more crew, facilities, and perhaps most importantly, onscreen talent that can pull international financing and audiences. Canada, Eastern Europe, and other countries will also benefit as the American juggernaut gets rolling.

The idea that we are going to be awash in streamer and other international production until the Apocalypse, however, is a little far-fetched in my view. A lot of American production will again take place in the U.S. and Canada, just like it always has. A strategic approach and well managed tactical implementation will I believe see New Zealand continue to benefit long term from production coming in from overseas. But the real opportunity I maintain lays in “constrained” local IP generation, and not just with identifiably Kiwi content.

Putting our culture on screen is vitally important, and we must continue to do so. Māori content cuts through in the global marketplace. Indisputable. But it’s the lack of investment in our screen content that is constraining us, whether it’s identifiably New Zealand or not.

NZ On Air, TMP and NZFC are still essentially operating on the same levels of funding they were receiving 10 years ago. COVID funding, though, has shone a spotlight on local IP.

Depending on which whisper you listen to, there were somewhere between 50 and 150 applications for the one-off $50 million Premium Fund. That’s a lot of local IP vying for, in the greater scheme of things, not a lot of money. There would definitely have been more than one pie-in-the-sky idea thrown in with no chance of success. But even if only 10 per cent of the proposals met a key criteria of being high-quality productions that tell New Zealand stories for global audiences at a scale and ambition not previously possible, that’s a clear indication of how much viable, untapped IP is out there.

Our local screen industry needs more investment to take advantage of global content opportunities:

  • More annual funding for NZ On Air, TMP and NZFC
  • An annual Premium Fund
  • More support for New Zealand’s gaming sector

A massively stimulated local industry will provide more than enough employment for current and future crew, and work for suppliers, with the added benefit of generating export dollars and actually creating and retaining IP here. International serviced production will then become a nice-to-have rather than a must-have for the New Zealand screen industry to survive and prosper.

 

Tui Ruwhiu
Executive Director

 

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With the vaccine within sight and just when we thought all we had to worry about was who was going to win the America’s Cup… here we go again.

It’s only through the news, our friends and other sources do we comprehend the horror of what COVID has perpetrated on many parts of the world. Our experience has been minor in comparison. The low numbers of check-ins using the COVID app has highlighted the nonchalance with which many Kiwis have treated the threat. And now here it is amongst us once more.

Fortunately, many productions schooled through our last lockdowns have maintained their vigilance and practices. A visit to Amazon’s Lord of the Rings studio locations highlighted that. Screensafe’s and SIGANZ’s considerable effort, with all the guilds and associations pitching in, means we have the resources and now the experience to provide the safest environment possible for production amidst a pandemic. Let’s hope we don’t have to rely on these for too long.

The fund NZFC and NZ On Air operates for COVID-hit productions has already been used by a large number of projects. How much money is still available has suddenly become a pressing issue. As will the availability of more if we are faced with a longer time in lockdown.

We got away almost unscathed from the Pullman outbreak. This looks much more serious with the UK variant of the virus confirmed in the community cases.

In the meantime, DEGNZ will continue to operate as we did through Levels 2, 3, and 4. We are all working from home, so office hours are essentially the same as usual. Once more we have to adjust our events to cope with the situation. We will be communicating with you about any workshop or event that was already on our calendar and that may be affected.

As always, the guild will be available to our director and editor members with advice or assistance, so do not hesitate to reach out. Hopefully, we will not have to take on a bigger picture role because of a prolonged lockdown period—having done a lot of work already, the screen sector is in a lot better shape than it was the first time around.

As I sit in front of my computer at home listening to the rain falling on a vege garden and property that welcomes it with open arms, and another sunny weekend just gone, I sincerely wish that all is over by midnight Wednesday. I will then be able to look forward to the coming weekend, which will hopefully deliver good surf so that I can try out my new surfboard lying untested in its bag in the carport.

 

Tui Ruwhiu
Executive Director

 

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Considering the significant impact of COVID on the entertainment industry, it’s hard not to be pleased with the incredible amount of activity going on in the New Zealand screen industry right now.

New Zealand is being seen as a good, safe destination to shoot in, with a number of international productions happening and others wanting to come in. This means crews are busy and getting paid well, more New Zealand actors are getting cast in roles that at another time would have gone to internationals, and the economic impact of the spend is going around the country.

As well, New Zealand productions, whether domestic or coproduction, are also happening. Vegas in Rotorua, One Lane Bridge in Queenstown, Mystic’s going again, Head High has gotten another series, The Panthers is shooting. These are just some of the bigger ones, in addition to the many small and medium-sized productions that typically get made in any given year.

Producers are lining up with projects for the Premium Drama Fund. A number of these will shoot this year. Shortly, the development component of the PDF will come out. All this on top of the typical funding from our three content funding bodies.

What’s the problem? Well crew rates and budgets for a start.

Crew are putting their prices up because demand exceeds supply, making it very difficult for NZ productions to get highly experienced crew. So if you’ve got an inexperienced teenager, relative or friend who’s been longing to get into film and TV, there’s never been a better time.

Budgets from the funding bodies for regular production haven’t increased, which means NZ can’t compete with their international dollars. The Premium Fund projects have hopefully taken increased rates into account, but for right now this is a one-off fund. Now is the time to lobby Government for more money for the funding bodies. This is particularly the case for NZFC as filmmakers are essentially paying—not getting paid—to make their low-budget films. While independently-funded films often operate in this way, it shouldn’t be the case for films funded by NZFC.

On the big picture front, we’ve heard that the Screen Industry Workers Bill is walking at tortoise pace while the government puts the afterburner on Fair Pay Agreements. Movement is happening on the proposed pan-sector body The Copyright Act Review is stuck in limbo. Considerable effort is going into the shaping and establishment of the Workforce Development Councils, driven out of the Reform of Vocational Education. This is a real positive for the screen sector as it will hopefully provide pathways into screen sector work that will address the shortages we face on the crew side particularly, but also in other areas.

Frankly, though, we are in a pretty good place considering. Now we just have to pray like hell that those COVID variants don’t wreak havoc on what could be a very good year for us all.

 

Tui Ruwhiu
Executive Director

 

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If you do a search on the Interweb, one of the definitions of a disruptor in business reads:

To be a disruptor is to create a product, service, or way of doing things which displaces the existing market leaders and eventually replaces them at the helm of the sector. Disruptors are generally entrepreneurs, outsiders, and idealists rather than industry insiders or market specialists.

Netflix is a great example of a disruptor. It started as a DVD rental company posting DVDs to customers before becoming the first major streamer. It now dominates screen content creation, delivery and the Hollywood studios globally. How long it maintains that dominant position remains to be seen—it’s certainly the hare among the tortoises. But those tortoises are weighed down by money and muscle through their parent entities as much by hard and relatively inflexible exteriors and slow-moving parts.

I’d posit though that COVID-19 is the ultimate disruptor. It’s creating dramatic change in the way of doing things that even if we overcome it with a vaccine, it has wrought such rapid transformation to business that just a year ago we would have considered inconceivable. We can see that transformation occurring right now, in the screen industry, in New Zealand. Anyone who watched the NZFC/NZ On Air/TMP webinar this week on the Premium Production for International Audience Fund saw an example of it in action.

In the Screen Sector Strategy, one of the ten initiatives in the short-term plan is to work with the Government to modernise the regulation that shapes the sector. I can tell you after two and a half years of working on the Copyright Act Review with Government and at least another year of work ahead, my expectations of quickly modernising the regulation that shapes the sector was not great.

Like the studios, our screen bureaucracy and Government around it is a cumbersome beast, pretty resistant to significant change. Note how we’ve sat on the sidelines as the Golden Age of Television reshaped the global screen industry. Or Netflix changed the screen content business model for creation, distribution, revenue flows and ownership. Or a commercially driven public broadcaster became a loss-making entity with a still-beating commercial heart and a decidedly permanent-looking hand in the taxpayer pocket.

But then COVID.

Now our screen bureaucracy is moving it’s stumpy little legs so fast in COVID recovery mode we are seeing changes mooted for rapid implementation or in place that in the old normal would have taken forever to bring about.

Such as in the Premium Production Fund:

• allowing productions to access NZ On Air funding and the New Zealand Screen Production Grant for drama.
• permitting productions to have no minimum level of Aotearoa New Zealand content.
• Requiring only a minimum level of private international investment for eligibility set at 10% of a production’s total value for TV.
• Doing away with the need for an NZ Free-to-Air broadcaster to get across the line.

Or in the COVID 19 Policy for the NZFC Terms of Trade for films under $2.5 million:

• dispensing with the requirement to have a distributor AND sales agent
• doing away with the need for an NZ theatrical release
• allowing a VOD platform as a distribution partner

I’m not sure if we are ever going to catch the hare, but I can certainly feel my hair—now longer due to COVID—getting ruffled with the winds of change.

Bring on the NZ Broadcasting Act and NZ Film Commission Act reform.

Tui Ruwhiu
Executive Director