NZ www.nztecho.comCHONovember 2009 Issue 41
THE GUILD FOR ALL CREW PEOPLE! The New Zealand Film and Video Technicians’ Guild NZTECHO 2
CONTENTS ‘el presidente’ speaks 3 Martyn Sanderson 4 Hollywood Hedonist... Part 2 10 A “Short” Chat 19 Ed’s Sorry… Anon’s Gone 21 LONO - What’s That, Again? 23 Language Less Polite! 26 But fi rst, thanks heaps to all who responded to my invitati on to comment on the Guild’s name – whether or not we should change it, and if so, to what. CREATIVE TEAM I had intended to publish in this issue a selecti on of responses culled from the eleven Publisher / Adverti sing pages worth I’ve gathered so far; but exigencies of space – three major contributi ons Fritha Stalker have all ended up being three ti mes the length anti cipated (I’ve had to delay a few other Executi ve Editor already prepared pieces ti ll our December issue) – and exigencies of ti me also – as I Tony Forster write, I’m less than 24 hours from climbing aboard a big metal bird to go shoot a doco in Design / Layout Berlin. So, my apologies – but given the responses so far, December’s will be a sti mu- Bright Ideas Ltd lati ng issue, I promise you! Printi ng Neville Newcombe However, as a taster: thus far responses are 35% in favour of keeping the present name, and 65% favour a change; of those 65%, roughly a half prefer Screen Associati on (of CONTRIBUTORS NZ), a third like Screen Crew Guild (of NZ), and a quarter have other suggesti ons. Alun Bollinger Tom Burstyn Thanks again, and – Keep those thoughts coming in, to [email protected]! Gina Dellabarca Tony Forster Fritha Stalker
PHOTOS - Thanks to Tom Burstyn Annie Collins WELCOME, NEW MEMBERS! and the Sanderson Family We thank you for your support. Tony Forster Cover Photo: Seamus Cooney Assistant Director Auckland Martyn Sanderson with his wife Donna Kofoed Assistant Director Auckland Wanjiku Kiarie in Kenya, 1983 Kevin Luck Camera Auckland Rex Milton Broadcast Engineer Auckland Jenny Morgan Art Department Auckland DISCLAIMER: Bryce Pearce Safety Auckland The views expressed in the articles James Rua Camera Auckland herein are those of the author(s), and do not necessarily represent those Vincent Shade Assistant Director Auckland of either the NZFVTG or the editors Suganthi Sivakumar Line Producer Queenstown of NZTECHO. (Though, of course, Laura “Lou” Taylor Special FX Auckland sometimes they do!) Morne van Tonder Safety Auckland
NZFVTG is supported by: NOTE: Occasionally a new member asks us not to include their name in this list. Al- though we think it disappointi ng, even shameful, that a small minority of producers sti ll hold archaic, simplisti c “us and them” atti tudes towards organisati ons like ours, we recognise that on rare occasions it may be tactf ul for a member perhaps contracted to such a producer, for example, to be discreet – and so we do, of course, acquiesce to any such request. 3 NZTECHO
el presidente’s rave…
Another sad loss: last month Martyn Sanderson shuffl ed off this On a point which I have made more than once, Sir Owen’s 1967 mortal coil. report proposed a single fl at-rate levy on all employers, on the He was given a wonderful send off in the Rangiatea Church in basis that we all benefi t from the work undertaken by those in Otaki, where he now rests in peace on a hill in the urupa by the risky industries such as fi shing or forestry or mining. He disputes church. Nick Smith’s claim that varied levies gives an incenti ve for people I knew Martyn well. We and our families lived together for to behave in safer ways. Are people really willing to risk killing several years at the Snoring Waters commune in Hawkes Bay; themselves for the sake of a few dollars of saved premiums? but somehow I felt I got to know Martyn bett er from hearing the things others had to say about him at his funeral. With so many * * * * * * * people gathered together talking and reminiscing, I got to hear Ah, what’s in a name? stories I’d never heard before, and to hear of Martyn’s work and In the last editi on of NZTECHO, Tony, our editor, explored the achievements which I wasn’t fully aware of. idea of a name change for our guild. This has been talked about Martyn made a considerable contributi on to the culture and arts on and off over the years, because the name “Technicians’ Guild” in Aotearoa. Although he will be sadly missed, his legacy will live seems to give the impression that we don’t represent those who on. work in areas which are not considered to be ‘technical’ areas, * * * * * * * such as art department, make-up, wardrobe, producti on offi ce, When this Nati onal-led government won the last general elec- locati on management, and so on. ti on, I made comment about some of the changes which could Of course we represent any and all who work in the screen pro- aff ect both us as screen workers and the populati on in general. ducti on industry, and we welcome the input of all departments. One of the areas of concern to me was what may happen to ACC. Lengthy discussion of the topic amongst the Nati onal Exec Sir Owen Woodhouse was quoted recently as saying the pro- suggests that a name change may be secondary to the need to posed changes to ACC breach the principles of the scheme which, inform screen workers about the work we do on their behalf, and as the head of the Royal Commission, he authored back in 1967. to encourage all in all departments to join up and help hold onto (The scheme was implemented in 1974.) and improve our conditi ons of work. The blow-out in ACC losses stems from the previous Nati onal Whatever our offi cial ti tle, we will always be known as the Government’s decision to allow private sector competi ti on; this ‘Techos’ Guild’. I guess it’s up to those of us who are already required a change towards ACC being funded on the same basis members to inform and educate those who aren’t, and get them as private insurers. So we have ACC desperately trying to predict to join up so that our voice can fairly represent all who work in and cover their potenti al costs years ahead. We need only look this industry. to the US of A to see how incredibly ineffi cient insurance is as a … AlBol way of paying for a populati on’s health needs. NZTECHO 4
Martyn Sanderson 1938 - 2009
I recall Martyn from post-Blerta occasions when I was old Martyn obviously was a thousand more things than the gentle enough to pick him out from what, as a very young Blerta child, Simple Man - not least a beloved father - but in my heart this is seemed one conti nuous family of people... always what he will be.
There are myriad images of Martyn as a performer over a long The world is undoubtedly poorer for your loss, Martyn, but I and illustrious career, many I fi nd very memorable. Ulti mately, sincerely hope and believe you’ll be having a beer with those however, to me he is always and irrevocably linked with a who got there before you, especially Bruno and my own Dad, Bill. parti cular character, both man and performer suff used with a common thread: the gentleness of the Simple Man. I don’t recall With much love, which venture it was linked with – the unlikely Blerta TV series, Fritha. or another – but there is a clip (probably shot on Super 8) for Simple Man that accompanies the Blerta song of the same name, htt p://www.facebook.com/group.php?gid=155653488494 and Martyn is its star. * * * * * * Simple Man eclipses other madcap Blerta moments with Martyn, Talofa, Tony Barry and Ian Watkin (amongst others) haring about the I am so very sad to hear about Martyn... but also know he has place wearing false chins and silly hats, dodging explosives. peace now. Somehow these need to be jogged out of a memory wherein I’m in Samoa... There is so much sadness and loss here too... If Simple Man is fi rmly planted. you make it to his tangi, please give him my love. We only met a couple of ti mes, but he gave me profound and I don’t know if I am innately melancholic, but “The Ballad of a gentle advice about life that, years later, has been immensely Simple Man” is undoubtedly a downbeat Blerta moment and helpful. not one you hear about much. The song is a haunti ng refrain, He truly was a beauti ful man. sung beauti fully by my – then very young – mother, about a Tofa soifua, man “passing by, doing the best he can” who receives a lett er F.C. “What does it say? She’s getti ng married on Saturday...”. Martyn * * * * * * * suff uses his portrayal with a humour that in other hands might Frederick Martyn Brocas Sanderson, actor, writer, poet: have been reduced to plain comedy, but in his hands only makes b near Granity, February 24, 1938; m (1) 1960 Elizabeth Eames it more poignant. I think that is true genius; thinking of it makes (diss 1978) 4d 1s, (2) 1983 Wanjiku Kiarie; d Otaki, October 14, my heart ache even now. 2009, aged 71.
I found the real Martyn fulfi lled that promise of genti lity, and Magic moments in the Life of Martyn: – as with most of this family-troupe – only wish I’d spent more ti me getti ng to know him once I had “grown up”. The silver lining Being delivered to the world in his parents’ Model T Ford near on such occasions is how they bring us together – although I Granity, on the West Coast… Scholarship to Oxford… Trained wasn’t able to att end the funeral in Otaki, today I found a social to the priesthood but chucked it in… Believed to be the only networking site set up by his daughter, Niccola, as a place for cast member in The Lord of the Rings: the Fellowship of the Ring people to “leave memories or stories”, and I hope to renew (2001) to have att ended lectures given by J R R Tolkien… Massey friendships there. University’s writer-in-residence in 2000… In 2005, he was made an offi cer of the New Zealand Order of Merit for services to literature and the theatre. 5 NZTECHO
With hat in Sydney, 1986
With all his siblings in Christchurch, 1999 NZTECHO 6
Thinking about Martyn
I needed to check my records as whether I was correct in thinking I do remember sensing Martyn’s reserve; but equally I also that the fi rst ti me I encountered Martyn was on my fi rst ever fi lm remember quietly watching his face on occasion, observing his job, the feature fi lm The Scarecrow, back in 1988/81. eyes and the way in which he observed the world… I remember thinking: There’s a hell of a lot going on inside that head! A litt le research showed me I’d been fooled, in a sense: Martyn did not act on screen in that fi lm, yet my feeling of his presence Over the years, Martyn popped up in quite a number of fi lm in relati on to that fi lm was so strong that I couldn’t let it go. jobs that I was also involved with - no fi lm was too small for Eventually I realised that Martyn was the actor chosen to speak him. (“There are no small roles, only small actors” - originally the most famous opening lines of any Kiwi book: “The same a theatre-world proverb.) The last project we both worked on night our fowls were stolen, Daphne Moran had her throat cut.” was Angela Zivkovic’s fi lm about her Croati an father and his Martyn’s executi on (excuse the pun) of the narrati on for the fi lm experiences arriving in New Zealand as a young man in the 1930s was so strong that in my memory the whole fi lm has the fl avour and working in the gum fi elds up north. Only a ten-minute fi lm, of his characterisati on all over it! an unproven fi rst-ti me writer/director, self-funded, but Martyn journeyed up from Wellington especially, to be a part of it. The When I did meet Martyn for the fi rst ti me (real, in the fl esh), I range of emoti on in the character that he was able to elicit already had a sense of this iconic fi gure within the New Zealand in what was a very simply stated, very stati c single scene, an screen world. But I found him to be somewhat physically smaller interview over a desk - he gave it real life, real depth. Typical of than I’d anti cipated. I guess that perhaps when people have a his work - that restrained but bursti ng at the leash performance big reputati on you somehow expect them to be physically bigger makes the fi lm. than they might actually be! When Martyn passed away such a short ti me ago, I guess like “Exactly. Don’t let them get you, a lot of people I was a litt le surprised. I hadn’t heard much in man, don’t let them get you. the way of news about him recently. I had deeply regrett ed Walk taller than your words. that I was unable to make it to Barry Barclay’s tangi last year; And tell us what the weather’s like this ti me, though an even greater distance to travel for an up there.” Aucklander, I was determined to get there, even though other commitments dictated a rather compressed ti me frame in terms of travel there and back. But I also think Werner Herzog has a If my fi rst experience of Martyn wasn’t The Scarecrow, then point when he talks of ti me taken travelling by a slower means it had to be the small half-hour drama for television that the yielding greater reward… Nati onal Film Unit made in early 1988 (just before its demise and I have to say - I’m really glad that I was able to go. The great joy consequent sale to a certain Mr JAckson) called The Bee King, a for me of Martyn’s funeral was discovering and sharing a litt le in story of a young boy who encounters an older man, a Beekeeper, his other life, the family and community life of a man that I’d only and who learns through his experience of the bees and their known through work. The discovery was not just of the love they master a litt le about life. had for him, but of the way that he had inspired them all with the I found Martyn at that ti me to be very quiet, quite reserved, even strength of and commitment to his passionately-held convicti ons shy perhaps - such that I initi ally felt he would be a man who as to how we might make this world a bett er place. would be hard to get to know. Nevertheless unfailingly polite, In the church, when his brothers and sister got up as a group friendly, disciplined, focused, professional, all those things that to speak, with the oldest brother taking the lead, it struck me crew love in an actor. And what I did noti ce as we were fi lming how, unlike many actors who tend to be the odd one out in a was the way he looked aft er and helped the young lad acti ng family, Martyn’s siblings were all similarly vibrant, fascinati ng opposite him; only about 10 or 11 years old. Martyn worked personaliti es, energeti c people. Martyn was probably the with him superbly, generously. The boy drew strength and quietest one of the whole family, not your actorly extrovert confi dence from him. at all. Then when his children came forward together to pay 7 NZTECHO
2003
1980 NZTECHO 8
their tribute, again with the eldest (Pippa) leading the way, I At the aft er-gathering in the “Winemaker’s Daughter” restaurant was struck by the unique strength of character of all these just down the road from Otaki, a fantasti c spread was laid out people. Yet again with the grandchildren: looking across the for us, really appreciated by those who had travelled long to be array of mokopuna, once more I could see some extraordinary there that day. But the real highlight of the aft ernoon was a reel personaliti es emerging. There must be something rather special of clips of Martyn ‘s performances over the decades, compiled by in the Sanderson genes, I’m forced to conclude! editor Annie Collins - a job done superbly in very litt le ti me, and a marvellous illustrati on of that aspect of Martyn’s life. With the The church, named Rangiatea, an extraordinary place built by the small space we had to have repeat screenings, so that everybody local Maori community, burnt down to the ground a few years had a chance to see it – magnifi cent. ago, and was rebuilt recently. A beauti ful building, which could be described as conventi onal European on the outside, although Later that night people were invited back to the house Marti n looked at more carefully it does resemble a Wharenui. But on and his wife Wanjiku shared, and the party went on late into the inside the design is strongly contemporary Maori, and quite the night. I delayed my return to Auckland; I was persuaded unique in its beauty. (kidnapped almost!) to share a meal with them before departi ng, and again I’m really glad I stayed - meeti ng all these people who The ceremony itself: an appropriately overcrowded church, were part of Martyn’s other life as an obviously highly valued people standing, a proper celebrati on of a good man’s life; member of the local community, rather than as a fi lm person. a lot of discussion, a lot of references to Martyn’s socialist principles, and to his quiet but incredibly strong determinati on But then there was also the ti me late in the evening when to live and work according to those principles - yet with a deep somebody played a DVD of television shows from the Blerta days. understanding of and compassion for those who did not share his To see the young Martyn clowning around, clearly having great beliefs. (My ideal of a human being.) The way that his children fun with his Blerta mates, was delicious; and of course those and grandchildren have been inspired by that commitment mates include so many people known so well to Kiwis all over, to doing good in the world, to trying to change the world into not least of which was our Executi ve Offi cer Fritha’s mother, a bett er place, not just for themselves but for all people, was Beaver - my goodness she’s a great singer! A delightf ul coda to clearly inspiring to many of the people there, and I’m privileged the day. to have witnessed it. And if there’s one thing I love about long drives at night, it’s the ti me to gently think over things, to refl ect… “But words are too oft en transparent, too much like smoke in a wheelbarrow. Too oft en, honest litt le boys point out Kua hinga he totara i te wao nui a Tane that, under the wondrous imperial cloak, A totara has fallen in the forest of Tane one’s private parts are showing.”
* * * * * * * Aft er the ceremony, Martyn’s casket was carried up to an The quotati ons in bold are from Martyn’s 2006 collecti on of his extraordinary site. The urupa surrounds the back of the church poems ti tled “Like Smoke from a Wheelbarrow”, published by but also fl ows up over the hill behind and looks over the church, Steele Roberts at $25. over the community of Otaki, to the mountains beyond. But turn around and you’re looking over the sand dunes to the Tasman Sea and to Kapiti Island. Martyn’s grave is in the best possible And from the Greeti ng that introduces the book: positi on on that hill, looking in both directi ons - a superb site, no less than such a man deserves. An extra surprise for many of us was to fi nd that Martyn was to rest alongside the hugely “Maybe it’s an actor’s way to glimpse reality: respected actress/writer and health advocate Tungia Baker. It I know who I am when I have your att enti on, seemed absolutely appropriate that as we mourners took our because then I know you know that I am not who I turn passing by the grave, some of the women began to tend to appear to be.” Tungia’s grave, removing weeds and rubbish. A connecti on being formed… or perhaps re-established. 9 NZTECHO
Martyn & Banana
In Samuel Beckett ’s play “Krapp’s Last Tape” at Downstage Theatre, Wellington, 1968 NZTECHO 10
From Hollywood Hedonist to Activist in Aotearoa
A conversati on between our editor and TOM BURSTYN – PART 2 “Cloud South Films is the midlife lovechild of NZ-based, Emmy-nominated, multi -award win- ning Canadian cinematographer Tom Burstyn and New Zealand journalist Barbara Sumner Burstyn. They describe themselves as escapees from the fantasy world of feature fi lm-making and corporate media.” (From www.cloudsouth.co.nz )
So you had to get out of Hollywood, and you obviously had the towards his monetary issues. But it also calmed me down; I get link with New Zealand, but what was it made you decide to come now that in the Hollywood way of making fi lms or television, the and live here, as opposed to going back to Canada? producer is the guy who runs the show – in television certainly; I did return to Canada right aft er my divorce, and – I have an old and in feature fi lms or in independent features, my experience Airstream trailer. Aft er I lost everything to the ex, there was just is that, unless the director is an incredibly strong-willed guy, the enough left over for a litt le trailer! I lived in that for a few years, producer gets to pull the strings. and then I got a job that brought me to New Zealand again, and So, you are in service of a budget and you agree to that, that’s that’s when I met Barbara. We fell in love; and Barbara moved the contract you sign. You sign your deal for the weekly fee and to Canada and we spent a few years there, took care of my the per diems and the rental car and the hotel room, and you parents. Then when they passed away, we thought, Why don’t agree to give your service as a cinematographer. But you also we try New Zealand? agree to complete the work in a 12-hour day, or however long the day is gonna be, and you agree to hold fi rm to the budget How long ago was that? that they have and that’s part of the deal. So art comes aft er Seven years ago. So I made the rounds here. As I said, my social you’ve accomplished those tasks, once you’ve become a ti me- skills aren’t the best – so I half-heartedly went around with my and-moti on expert; and once you’ve put that issue to bed, then resume and my demo reel, and nobody really took much noti ce. you can be the arti st. But I didn’t push very hard, and it was always easier for me to A couple of fi lms ago I got on the plane having signed a deal take a gig back in the States or in Canada, go away for three or to make this 30 million dollar fi lm, and by the ti me I arrived in four months, then come back. Vancouver a day later the budget had changed and become 8 million dollars! They lost one of their big funders, and then That’s why I love watching bad movies, with that funder leaving another couple of litt le guys left , and they’re the only ones I learn from. they ended up with only 25% of their money. That poor guy – I looked at him; he wasn’t a smoker and now he’s chain- smoking cigarett es and pulling his hair and eati ng obsessively, Then Barbara and I just decided to start making fi lms, and it was he’s completely freaked out. He made a Deal with the Devil to a really liberati ng experience. It calmed me down a lot in my do all the stunts that were outlined in that script, to do all the day job too. I told one of the producers that I’d worked for since pyrotechnics and special eff ects and green screens; he had to the 80s, done very many movies with him – “You know, I’ve come up with that, he had to fulfi l that deal. Those guys, they’re fi nally got an understanding of what it’s like to be responsible mean bastards, they’re not going to back off : “Okay, can you do for the money. Even though we make these pip-squeak litt le half the special eff ects; we understand” – No, they don’t do that! movies, I have a greater respect for your issues now.” I stopped Your fortunes go their way, so you have to be… Or you leave. busti ng his balls about absolutely having to have that lens with that camera, or whatever it was, and I became sympatheti c * * * * * * * 11 NZTECHO
“Barbara is fi rst and foremost content and structure, and...
... I am fi rst and foremost seducti on…” NZTECHO 12
I once met Haskell Wexler. He’s a great hero of mine, and I you start? I mean, a great script can be spoilt by a bad director. think he’s one of the world’s greatest cinematographers. I got What do you do, where do you get that nose for the stuff ?” He a call from him, saying a camera operator I used to work with told me his big secret. Are you ready? You must have done the was working with him; that’s how we connected. He said, “I same thing, right, Tony, you never know – you’ve signed the understand you’ve shot a lot of Fuji fi lm; we’re gonna do a fi lm deal, everybody’s nice in pre-producti on or in the interview, and on Fuji and I would like to talk to you about the emulsion and then they turn – it’s Jekyll and Hyde! Haskell told me, “Oh, it’s how it works”; and I said, “Wow, sure, I’d love to talk to you” prett y simple. I was privileged to come from a wealthy family. I – and then I said, “But here’s the catch – I’ll answer all your sign on a job. If I go down the road and I see in pre-producti on questi ons if you’ll answer one of mine.” He agreed. that things aren’t going well, I quit.” Of course – why didn’t I think of that? There’s the privilege, of course… I mean, there’s So art comes aft er you’ve accomplished those tasks, no questi on about his talent, but his self-respect! There are other once you’ve become a ti me-and-moti on expert; great cameramen who go off and do shitt y fi lms; and you look at and once you’ve put that issue to bed, their fi lms and you go, Wow, beauti ful camera work, what a lousy then you can be the arti st. movie! But I don’t think you can name a Haskell Wexler fi lm that is actually a bad fi lm. We met, had lunch, talked about his fi lm, and at the end I said, * * * * * * * “Here’s my questi on. I have seen every fi lm you’ve ever made You menti oned having to sell yourself – that’s the one aspect of at least once, and I can’t understand how you manage to pick being a freelancer that I admit I too fi nd hard. Moti vati ng myself them – how do you know it’s going to be a great fi lm before to sell myself feels somewhat hypocriti cal! I prefer to just say, 13 NZTECHO
Look at who I am, talk to the people I’ve worked with; hire me on That’s the hardest, trying to fi gure out why it failed, when the that basis – and someti mes, if you’re lucky, that works. But if integrity is there but the technique has failed. you’ve been away for a while, they forget you… I understand there are family reasons for why you’re based in Talk about talking yourself out of a job! I was recommended to Hawke’s Bay, rather than one of the so-called fi lm centres of the a big movie star who was making his directorial debut, his fi rst country? feature, and I met him. You get the pass to go into Paramount But isn’t Hawke’s Bay the fi lm centre of New Zealand? My wife and you drive on to the lot – and there is a cachet to that Barbara’s parents live here and that was the draw to sett le Hollywood thing, it’s a huge powerful cultural icon – and you here. I like the living – it’s very pleasant living in a small town. meet this guy… We had our litt le meeti ng, then we went for a You do miss some of the big city ameniti es, but I make myself walk. We’re walking around the studios and he’s telling me, “I comfortable wherever I am. L.A. wasn’t comfortable, it’s one of want every shot in this fi lm to move, I want to shoot the whole the few places I couldn’t sett le. fi lm on a crane, I never want the camera to stop”; and I’d read I watched your doco One Man, One Cow, One Planet this the script, so I open my big mouth and I suggest that maybe the morning. I was intrigued, Peter Proctor seems... uniquely camera would move a lot bett er – the infl uence of the move individual. Although Rudolf Steiner is menti oned in the fi lm, and might be bett er felt – if there were some sti ll scenes, so that you clearly Peter follows the philosophy of Anthroposophy, I wondered could juxtapose the movement against the sti llness; and that if how much Peter himself is simply into what works with the soil, the camera moved all the ti me you might get used to it. So, that and biodynamics happens to be it; or whether he’s deeper into was the end of the job, Bye, see ya later! Today, being a litt le the philosophy of Anthroposophy – and which came fi rst? But more mercenary and a litt le more savvy in those ways, I would I also wondered whether you folks were infl uenced by all that in say ‘Great idea’, then I would let the producer or the producti on choosing to make this fi lm, or whether you discovered something manager talk him out of the expense, let somebody else crash about biodynamics and Anthroposophy through meeti ng Peter and burn! There was no way that budget would have supported and making the fi lm? a crane every day, but I wasn’t thinking – I was being the arti st, right? And you were also, dare I say, acti ng with integrity towards the script. I fi nd a lot of those people don’t even read the script! I mean, they don’t read it unti l they get right into pre-producti on, then there’s no ti me because they’re casti ng and they’re locati on surveying, they haven’t really focused on... So you know, it’s nice being your own boss, making your own mistakes, and there are many mistakes to be made! So we just start at the beginning, start making them. Do you learn more from mistakes than from when things go well? Oh, yeah. That’s why I love watching bad movies, they’re the only ones I learn from. I think also you learn from where something almost works but doesn’t quite, and trying to fi gure out just what went wrong.
Tom in 1979 - Vietnamese boat people in a refugee camp in Macao. NZTECHO 14
Well, our daughter goes to a Steiner school, and in fact, how we audience; you hear the word ‘Steiner’, and you see something, came to meet Peter was through the school. It’s a great school; I you see biodynamics… The fi lm is a stepping stone to further wish I’d gone to a school like that. research, it’s an introducti on to something. So hopefully, anybody who is curious will look a litt le deeper, and take it as I don’t think any fi lm of 60 minutes in length, far as they’re interested. I don’t think any fi lm of 60 minutes in or even 2 hours, can do any subject justi ce. length, or even 2 hours, can do any subject justi ce. So you open So you open the door, you open a window the door, you open a window to the topic, and then let it go. to the topic, and then let it go. Thinking about the contrast between One Planet and This Way of Life… The former has a very parti cular politi cal-social message; Peter has a profound understanding of Anthroposophy, and and yes, the other one does too, but in a much more oblique specifi cally about biodynamic farming obviously; but he way. One Planet starts out with a very direct, strong statement doesn’t proselyti se and he wasn’t terribly eager to spread the of “This is what’s wrong and this is what’s right”, as opposed to philosophical word, as much as he was eager to spread the the other fi lm, which gently fi nds its way into where it’s going. agricultural word. Part of our fi lm-making philosophy is to serve The reason I’m curious about this is that when I watch a good the subject and/or the person we’re telling the story about, as documentary, I oft en feel that the only people who actually are much as anything else; so we took our cue from Peter. As you interested in watching the doco are people who are in a sense the noti ced, he menti oned Steiner a few ti mes in the story, but I “already converted”. think more importantly, he acted like an Anthroposophist. Preaching to the choir. I think the idea is that you noti ce something if you’re the Exactly! I wonder whether your philosophy of fi lm-making is evolving perhaps; is there a patt ern emerging in terms of how you choose your subjects, for example – Obviously you sti ll want to change the world, (as I do!), but have you been thinking much about how your fi lms might do that, and how to get something through to the unconverted? Well, I hope This Way of Life is a more subtle fi lm than One Man, One Cow! We cut our teeth on that fi lm – it was done as more of an instructi onal fi lm, and it’s a more concrete subject as well. So it has a clearer stance, while This Way of Life is more posing a questi on than giving a directi ve. I mean that’s the way I like to do it – I don’t want to ram anything down anybody’s throat; I want people to be able to push against it and debate. But This Way of Life also has a bigger subject, in that it’s about a life and a family, it’s an utt erly universal subject; whereas I think One Man, One Cow was preaching to the choir – nobody who isn’t interested in organics or a related topic would ever pick that fi lm off the shelf in a video store. It’s certainly targeted to a very specifi c audience. This Way of Life I actually made for one guy – a friend of mine from LA, whom I knew from my very fi rst year there. He was a sarcasti c, outspoken, left -leaning, full-of-hopes-and-dreams fi lm technician, who today has become very ill. He takes Prozac; he’s been taking it for about ten years now, if not more; and he takes a sleeping pill every night. And I’m convinced that his course of drugs, over that length of ti me, has rendered him stupid – he’s Phone: 09 302 4100 Fax: 09 302 4102 become a very thick guy! And that thickness has contributed to 15 NZTECHO
Colleen Karena (wife of Peter)
Llewellyn Karena shows how to relax on a horse NZTECHO 16
a change of politi cs for him as well – he’s become a right-wing operator, the equipment house, a magazine. You look, you see guy, he’s acquired the atti tude of ‘Fuck them, I’ve got enough – Oh, there’s a new toy, is it useful or not? Can we aff ord it or problems just looking out for Number One’. He’s become the guy not? It’s a tool, and if it interests you, you can learn how to use that brings Dunkin’ Donuts home to the kids as a breakfast before it, or if the old hammer was just as good then you keep using the one of them has to go off to Weight Watchers. old hammer. That’s how tunnel-visioned and closed-minded he’s become – So I’m sending this fi lm to him, so unconscious; and I’ve found that I need some kind of… I need that he will hopefully wake up, a muse to work towards, so he became my muse. This guy who scratch his head and go, was so full of dreams, with such a sharp mind and such a creati ve “Hey, what the fuck happened?” spirit; now he’s been completely beat up by Hollywood. So I’m sending this fi lm to him, so that he will hopefully wake up, scratch But the people skills are the big deal for me, learning how to his head and go, “Hey, what the fuck happened?” seduce the people around you. If you have a great idea as a That was one of the images I used in my approach; I’d set up a technician, as a cameraman, it’s one thing having the idea; but shot and I’d think, ‘Well, do I include that?’ I’d think about how it’s another thing selling that idea, convincing the director it’s I was doing that shot, and I’d wonder, What would Tom think? the way to go, that he really needs that shot or that piece of Yeah, his name is Tom too – How would he react to that? equipment or that look, whatever it is you’re selling to make a story tell bett er. I take a lot of my lessons from Hollywood. I have to say it gave me a great educati on, I did my ‘post-grad degree’ in fi lm-making Your partnership with Barbara in making the fi lms – she comes about people skills; whereas the technical stuff – I always relied from a journalisti c background, so obviously the writi ng aspect on getti ng my technical educati on from my camera assistant, my was important there. But it’s tempti ng to observe that you come 17 NZTECHO
across as quite diff erent personaliti es, certainly on fi rst meeti ng Leni Riefenstahl – and yet it’s obviously a connecti on that works really well for Leni Riefenstahl was an extraordinarily talented and innovati ve you both. fi lm-maker who shot propaganda fi lms for the Nazis, the most Yeah, I think what makes both our fi lm partnership and our famous ones being her documentary of the Nuremburg rally marriage so strong is exactly that we’re opposites in very many of 1934, Triumph of the Will, and her fi lm of the 1936 Berlin ways. I mean, our politi cal points of view are the same, but our Olympics, ti tled Olympia. take on things is very diff erent, especially in the process of fi lm- making. Barbara is fi rst and foremost content and structure, and The famous footage of wins by black American Jesse Owens and I am fi rst and foremost seducti on. I think I know how to take NZ’s Jack Lovelock in the 1500m is hers. The Economist wrote a story point that Barbara makes and put it across, but about that Triumph of the Will “sealed her reputati on as the greatest balance and structure, the overview – that’s more Barbara’s female fi lm-maker of the 20th century.” department. We have endless arguments over pacing, inclusion or not of this or that… It’s because we’ve come from such She was a favourite of Adolf Hitler’s, though reputedly he opposite ends of the process that we have to convince each other spurned her romanti c advances. But aft er World War 2 she that this shot stays, or that scene goes, or whatever the thing spent the rest of her life denying and avoiding her past, partly is; and I think it works very much in our favour. I defer to her in by making fi lms and sti ll photography in Africa. At the age of 72, those departments, and she to me in the visual. she began pursuing underwater photography, and on her 100th birthday she released a doco called Underwater Impressions – I want to tell a documentary in a dramati c way; Barbara agrees she was the oldest scuba diver in the world at the ti me. with me on this too. You have your facts – but just look at any politi cian, facts can be made to say one thing or another, At the age of 101, she married her cameraman and lover of 40 depending on what your self-interest is. As Barbara likes to say, years, Horst Kett ner, who was coincidentally 40 years her junior. the truth is highly overrated! She died shortly aft er. I want to tell a story that creates a mood and generates an emoti on in somebody; and I want to tell that story in the way I (The entry on Riefenstahl in Wikipedia makes a good read. Ed.) learned to tell dramati c stories with the camera. I don’t want the camera to be objecti ve; I don’t think the camera is capable of being objecti ve. I think if you try to make an camera objecti ve, you’re a bigger liar than I am by making the camera completely subjecti ve. I know how to make you look like a villain or a hero, that’s my craft . It goes back to that proverb, that simply by the act of pointi ng a camera you aff ect what’s happening in front of the camera; as soon as there’s a consciousness of the camera’s presence then people, even very subtly, alter their behaviour – and their thinking modifi es a litt le too, doesn’t it? A litt le, or a lot. Given that any form of media, from a newspaper arti cle to a feature-length documentary, is a distorti on of reality, then I think it’s up to us to accept that fact, and to distort reality with respect and honour. Mind you, Leni Riefenstahl was also a great distorter of fact; she did it extremely well! Indeed, Tom, she made some extraordinary fi lms. But hopefully what comes out of this chat will be a distorti on with integrity too! Thank you. NZTECHO 18
Peter Karena by Waimarama Beach
“This Way of Life won its way into the top 10 fi lms of the Bill Gosden on This Way of Life, sti ll playing at Film Festi vals Vancouver Internati onal Film Festi val out of a fi eld of over 300 around the country, and selling out: fi lms. The Canadian premiere of this gem from New Zealand “As charismati c a subject as any fi lmmaker could ask for, Peter averaged an amazing 4.73 out of 5 in extensive public voti ng.” makes ends meet as a horse-whisperer, builder and hunter. Seeing the children riding bareback through the East Coast dunes Alan Franey, Festi val Director, or astride a horse moving up a river with their father is like Vancouver Internati onal Film Festi val. glimpsing the infancy of the classical gods. (Yes, Tom Burstyn’s cinematography is that remarkable.) …This year’s out-of-the- “Okay, there are many special fi lms at this year’s Vancouver blue discovery.” Internati onal Film Festi val. But this one I’ve seen fi rsthand and the story and the characters in the documentary, This Way of ******** Life are very special indeed. … This fi lm is truly an inspirati on on many levels. It provides a real life example of one way to live The DVD of One Man, One Cow, One Planet is available through respectf ully off of the land. Tom & Barbara’s Cloud South Films website, and This Way of Life It shows the violence that many have to endure in the civilized will be released on DVD next year. world. And it portrays the loving kindness that all of us could choose to live with our own families, if we work hard and smart Other planned projects are also illustrated on the website – enough…” which is one of the bett er fi lm company websites around, for sure. (Ed.) Dave Olsen, Reel Life, Real Ideas 19 NZTECHO
A “SHORT” EMAIL CHAT
Hi Fritha and Gina, We hope to have lots of Techos’ Guild members att end the Thinking of doing a litt le promo in NZTECHO about the “SHOW festi val this year, and look forward to establishing a closer ME SHORTS” Festi val - pointi ng out parti cularly that, as well as relati onship in future years. other smaller centres, there will be a season in Arrowtown that Auckland - Academy, 5-11 Nov. our Queenstown people can att end... Matakana - Matakana Cinemas, 5-11 Nov By the way - who ended up being our judging representati ve? Wellington - Paramount, 12-18 Nov Christchurch - Rialto, 12-18 Nov Dunedin - Rialto, 12-18 Nov Motueka - The Gecko, 19-25 Nov Hi Fritha and Tony, Papakura - Hawkins Theatre, 19-25 Nov We have the fabulous Barbara Darragh supplied to us as a judge Arrowtown - Dorothy Brown’s, 19-25 Nov with the kind assistance of the Techos’ Guild. Whiti anga - The Monkey House, 7-13 January. We’re really excited about going to Arrowtown this year too! Cheers, Gina Dellabarca, Festi val Director Slowly but surely we expand our empire (*evil laugh*). www.showmeshorts.co.nz www.myspace.com/showmeshorts Other exciti ng things this year include a record number of World htt p://www.facebook.com/group.php?gid=8502010138 Premieres, with nearly half our programme never having been seen before anywhere, and most of the fi lms never seen before Hi Gina, in NZ. We hope the festi val goes really well for you. I must say, I really We have also added a Short Film Development Workshop on the like the printi ng of the programme - the bold colour choice Saturday during the festi val, (from 9am to 1pm). These will start gives it a real individuality amongst all the other festi vals we’re with two experienced fi lmmakers screening a fi lm and talking now lucky enough to have; and I also really like the fact that about the specifi c development process for that fi lm, break for there are no secti ons where the print is diffi cult to read because a complimentary morning tea, then three emerging fi lmmakers of not enough contrast between the text and the background will screen some recent works and discuss the pleasures and colour, whether in hue or saturati on. This affl icti on seems challenges of making those. to inhabit at least one secti on of almost every fi lm festi val We have only just confi rmed the parti cipants for these: programme I’ve ever seen! Well done for bucking the trend! Cheers, Tony F. • In Auckland - Roseanne Liang and Leo Woodhead, with discussion facilitated by Nik Beachman, for the development component; then new works by Garrick Rigby, Michael Humphrey and Anton Steel. • In Wellington - Louis Sutherland and Paul Ward, with discussion facilitated by Paul Swadel, for the development component; then new works by Sally Tran, Andrew Campion and Rollo Wenlock. Tickets to the workshops are only $10, and available for purchase from the cinemas now. A complimentary morning tea is supplied too, so it’s great value! For more informati on, or to register for the workshops, visit htt p://showmeshorts.co.nz/workshops.php or contact Anna Jackson at [email protected] NZTECHO 20
Why Become a TECHOS’ GUILD Member? Charge extra when shoots go into overtime? Get meal breaks? What about per diems when out of town? Every day all screen workers in NZ benefit from the work the Guild ( = the membership) has done in the past. The Guild is about collective action and power – alone we may not achieve much, but together we can do amazing things. It’s not rocket science, but it’s true!
By joining the Guild you become a part of a community and have a say about issues which are most important to you.
FREE x NZTECHO magazine: Six issues per year dealing with industry issues. x BLUE BOOK Code of Practice for Engagement of Crew: Setting standards for screen worker contracts. x SAFETY CODE OF PRACTICE (SCOP): Freelance contractors are required by law to hold a safety document. x ADVICE: Tax, legal, invoicing and point of contact for any issues you face as a contractor. x FACILITATION: People who can solve problems, help with business skills, legislation & policy requirements.
DISCOUNTS INCLUDE x LIABILITY INSURANCE: Terrific deals with our specialist insurers who understand our industry! x TRAVEL, EQUIPMENT & MEDICAL INSURANCE: Group discounts and packages tailored for screen workers. x FILM FESTIVALS around the country x MOVIE THEATRES: Great discounts at many cinemas throughout NZ x EQUIPMENT SUPPLY: HirePool, Resene Paints, Prompt Service x INDUSTRY PUBLICATIONS: Data Book & ONFILM magazine
OTHER BENEFITS x Lobbying Government on behalf of screen workers and the Screen Production Industry – Your “Voice” x Liaising with other industry organisations to maintain industry standards and expand the industry. x Immigration consultation on applications by overseas crew to work in NZ – representing the interests of New Zealand screen workers to maximise job opportunities for Kiwis.
GUILD OBJECTIVES x Provide NZ screen workers (pre-production, shooting & support, plus post) with a professional association representing their interests in the Screen Production Industry. x Promote the interests, opportunities for employment, welfare and safety of NZ Techos’ Guild members x Promote and maintain professional standards among all screen workers. x Represent interests of members in dealing with Production Companies/Employers/Operators. x Study, report on, and assist with complaints and problems within the Screen Production Industry.
Annual Membership Fee $243-00 – Monthly Auto Payment $20-25
Join ONLINE @ www.nztecho.com or COMPLETE THE FOLLOWING and return to: NZFVTG | PO Box 68–294 | Newton | Auckland | 1145
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FILM SCHOOLS: Special Study and ‘Newbie’ discounts, during study and first year after graduation: 50% 21 NZTECHO
Anon’s Gone
I am writi ng to inform you that I have to withdraw my But there is a remedy - instead of paying a lump sum membership from the Guild. I have been unemployed in the annually, you can pay the guild membership fee in monthly industry for the past eleven months and can’t aff ord the fees. instalments. Using this system (as I do) makes the whole fee- All being well, the New Year looks hopeful, and I will then seek to paying experience infi nitely more comfortable, as an amount re-join the Guild. Unti l then… of 1/12th of the annual fee is painlessly extracted from your Thank you. bank account each month. No initi al deposit required either! Remember, $20-25 per month works out to be the equivalent of Yours sincerely, approximately one latt e per week! (Name withheld – Ed.)
We sympathise strongly with our resigning member, however, A thought from us to those in a similar situati on: and we sincerely hope that her/his fortunes turn around as Although we believe our fees are not large by the standards of quickly as the politi cians in power insist they are doing… other comparable organisati ons, nevertheless when one’s not as fl ush with folding as one might prefer, or need, then the one- Tony F. off lump sum can look mighty inti midati ng at fi rst. NZTECHO 22
L.O.N.O. - What’s that, again?
The NZ Film & Video Technicians’ Guild processes around 1000 applicati ons a year from producti on companies/producers seeking to bring internati onal crew members to New Zealand for work. Questi ons about these applicati ons are commonly presented to the Guild. It is an issue of which all crew should be aware. Here our current EO (Executi ve Offi cer) Fritha Stalker discusses the process and some of the issues surrounding applicati ons for “Lett ers of Non-Objecti on”.
Well, it may not be literal for most of the country’s weather yet, So, what is a LONO, and how are the assessments made? but internati onal shoots are defi nitely hotti ng up. It’s clear that Well, it’s one of those circular questi ons – What comes fi rst, this is the case when my days become increasingly fi lled with the lett er or the immigrati on process? I’ve jumped in with an Lett er of Non-Objecti on (L.O.N.O. or LNO) assessments and their important clarifi cati on, so we’ll go from there... associated administrati on. The wider industry could defi nitely benefi t from knowing a litt le more about this process, so I hope Non-objecti on lett ers are included with applicati ons made by you read on! crew intending to travel to and work in New Zealand. Crew apply to an Immigrati on New Zealand offi ce or agent (such as a New Zealand Embassy, Consulate or High Commission) for appropriate travel documentati on: • A work visa is required – before travel commences – by any individual who intends to work once they reach New Zealand (NB: Many countries are “visa free” for visitors coming to NZ for the purpose of holidaymaking or for meeti ngs in advance of doing business. Other countries require a visa to travel to NZ no matt er what the purpose of their trip.) • A work permit may be obtained by an individual once they reach the NZ border, providing they carry the correct visa and meet border criteria. So, a work visa allows an individual to travel to New Zealand with the intenti on of working once they cross the border; while a work permit allows an individual to actually enter NZ and engage in work. This is oft en misunderstood. The LONO is submitt ed with the applicati on for a work visa, and should be carried by the person travelling in order that a work permit may be issued upon their arrival. Travelling on any visa does not guarantee that a www.panavision.co.nz permit will be issued at the border; however, all else being well, Auckland +64 9 360 8770 this is what will occur. Looking after you locally with: Why does the Guild provide this assessment service? Genesis, XL, Millennium, Panaflex, Arri, Moviecam, Sony 900R, Aaton If Immigrati on New Zealand offi cers/agents made the Primo, Zeiss, Cooke, Angenieux, Century, Cannon, Fujinon, Preston, Heden Tiffen, Sachtler, O’Connor, Ronford, Accessories & Consumables assessments without the assistance of the various Guilds they would be based on identi cal criteria. However, the process 23 NZTECHO
would likely take considerably longer. Not only does involvement Does it matt er what type of producti on it is and where the – via the Lett er of Non-Objecti on – allow the Guilds to have producti on will be aired? input into the process, but such involvement expedites the Producti ons that are being shot enti rely in New Zealand for a enti re process. INZ offi cers/agents do not have a working local audience are assessed diff erently to travelling producti ons knowledge of the screen producti on industry on which to base that include a handful shoot days in New Zealand and are assessments. In order to sati sfy themselves that local workers intended for an internati onal audience. Similarly, Television are not disadvantaged, agents/offi cers would have to make Commercials (TVCs) are assessed diff erently to Feature Films; lengthy investi gati ons and may require producti ons to adverti se Feature Films and TVCs diff erently to Reality Shows; and so for local crew via Work & Income or local papers – avenues forth... commonly used to recruit workers in other industries. This, and the general high load on INZ, would almost certainly make wait How are New Zealand jobs protected? ti mes lengthy and reduce the opportunity to respond when ti me The Techos’ Guild processes more screen producti on industry frames are especially short, such as in the Television Commercial Non-Objecti on applicati ons than any other screen organisati on. area. Furthermore, the working relati onship which the Guilds The Guild provides the best quality advice it can, and seeks have with INZ allows for an exchange of informati on regarding mutually acceptable resoluti ons to immigrati on issues with both the screen producti on Industry and the immigrati on process a view to the wider benefi t of the enti re screen producti on that mutually benefi ts each – by way of educati on, discussion industry. and response to changes in either arena. Internati onal work is an essenti al part of providing employment Doesn’t the Guild make loads of money on these Lett ers of Non- Objecti on? No. Immigrati on New Zealand allows the NZ Film and Video Technicians’ Guild to cover its administrati ve expenses by charging a fee for the applicati ons. The current fee of $45- plus GST per person is intended to cover costs and no more. (Urgent fees incur a further $120-plus GST per Lett er of Non-objecti on which may cover several people.) Where a producti on is large and/or requires extensive investi gati on on our part (see later for more on what this means) the costs undoubtedly outweigh the fees charged. The Guild views this as an important role, and not a revenue gathering exercise. Producers/producti on companies apply to the Guild for Lett ers of Non-Objecti on for all internati onal ‘below the line’ crew they wish to bring in. Directors, producers and actors/presenters are dealt with by the respecti ve associati on/guild/union relevant to their craft . Applicati ons are submitt ed online using the Guild’s interacti ve applicati on. Each applicati on covers a single producti on and may have many individual crew included. Individual crew are assessed separately, in accordance with the criteria set out by INZ, taking into account internati onal common practi ce and consistency with past circumstances by genre (documentary, TVC, feature fi lm, etc). This part of the assessment considers INZ criteria recognising internati onal disti ncti on/merit, parti cular ethnic signifi cance or manifest importance to the producti on (that is, individuals who, due to their experience, unique qualifi cati ons or other factors, are essenti al to the producti on and could not realisti cally be replaced by someone else). NZTECHO 24
for our members, and provides wider economic benefi ts to New From ti me to ti me there are situati ons where an applicati on fails Zealand. The INZ criteria assessed in this respect consider risk the criteria and the Guild is obliged to object. If this were not the to employment of New Zealand professionals in equivalent case, there would be no reason for the Guild to be involved in work, balanced with wider benefi ts that may someti mes the Immigrati on process! outweigh loss of job opportuniti es for individuals. Under INZ More oft en than not, producers and producti on teams can criteria, producers/producti on companies must give appropriate be encouraged to adjust their approach to reach a mutually considerati on to employing available New Zealand professionals. sati sfactory and criteria-meeti ng end. If you’ve had a call from our EO, chances are it was during this part of the assessment. The Guild spends considerable ti me Is anything else taken into account? obtaining feedback – confi denti al to the producti on and the Health and Safety is also considered, due to general concern individuals involved – from experienced crew (members of the and the fact that immigrati on and occupati onal health and Guild, and others) in order to assess whether or not adequate safety come under the Department of Labour, with whom considerati on has been given to employing locals before a the Techos’ Guild has a working relati onship based on good decision is reached. faith. Any incidents, parti cularly those that come to the The Guild applauds those producers out there who go in to att enti on of the public, refl ect on the enti re screen producti on bat ti me and ti me again for local crew to be employed on big industry, and as such, impact on the wider benefi t of bringing in internati onal jobs. It is the experience of the Guild that fi rst internati onal work. A great deal of ti me is spent explaining this ti mers to NZ use far less local crew than repeat visitors – a to internati onal producti on companies, and encouraging them to refl ecti on of the positi ve impact that our local crews have on make use of local professionals to facilitate their shoots, so that visiti ng producers. local permit-giving, laws and regulati ons are adhered to. Parti cularly at the leading edge of some rapid technological We are happy to throw our development and new media, there can be a clear requirement to bring in internati onal specialist crew. Where this is the case combined resources at the Guild places parti cular emphasis on encouraging producers to engage acti vely in mentoring and training local crew – mentoring New Zealand film making and training are key throughout all craft s and the enti re industry, of course. This fi ts the INZ criteria of wider benefi t to the industry, and is another area where some producers stand out as beacons of best practi ce in nurturing the local industry and in recognising the talents and skills of New Zealanders. The Guild seeks opportuniti es to acknowledge this best practi ce whenever possible. What about people coming in on visitor permits and then changing to work permits?
When it comes to filming, it is hard to overlook the OR experience, commitment and resources of Hirepool. Recent expansion includes the purchase of Henderson Someti mes TVC deadlines are too ti ght to follow process... Aren’t Rentals and a newly created division - Hirepool Energy. Henderson Rentals will continue to they? supply a full range of dedicated camera trucks, wardrobe trucks, crew transportation and much, much INZ does not condone retrospecti ve issuing of work permits, more. Hirepool Energy can supply a full range of industrial generators and pumps, and Hirepool Access as the individual is then in breach of the law if they have not will continue to supply the latest access equipment declared their intenti on at the border. Where an individual has essential to today’s filming requirements. entered New Zealand as a visitor at the recommendati on of For film specific information please contact Neil Radley 0275 878 062 their producer, on the basis that a retrospecti ve work permit
www.hirepool.co.nz will be applied for, then the Guild has been generally supporti ve www.hendersonrentals.co.nz of this process despite the fact that the law has been broken. www.portaloo.co.nz www.hirepoolenergy.co.nz As discussed with the Guild’s INZ relati onship manager, these 25 NZTECHO
situati ons have commonly involved experienced New Zealand TVC producers facilitati ng relati vely large scale producti ons with ti ght deadlines and inadequate ti me to sort out all the work Combined Guilds permit issues ahead of ti me. However – INZ has indicated that it will not tolerate such retrospecti ve issuing of work permits, other 2009 Christmas Parties! than in excepti onal circumstances. As such, the Guild encourages producers to contact the Guild as early as possible if they are Wellington - 8 Dec in a ti ght spot. The Guild can facilitate the immigrati on process Auckland - 10 Dec and help avoid crew being turned back at the border, as well as protecti ng future relati ons with INZ. Watch your emails In practi ce, the Guild lodges an objecti on or presents INZ with for Details !!! informati on about non-compliance once or twice a year. Every issue presented formally to INZ is taken very seriously, and must be dealt with very quickly to be eff ecti ve. The Guild also receives queries about foreign crew working in New Zealand. If there are members who feel that they were not reasonably off ered work which is being undertaken by foreign www.sinclairblack.co.nz crew, and a Lett er of Non-Objecti on was issued, then the Guild has to be able to justi fy the decision to allow the foreign worker mick sinclair lisa noonan caroline stone into New Zealand. Where the Guild receives informati on that internati onal crew are working in New Zealand and no request has been made for a Lett er of Non-Objecti on, the Guild is obliged to inform Immigrati on New Zealand – and does. Immigrati on NZ has a compliance division that investi gates any suggested breaches of regulati on. They are emphati c that a work permit is required for someone to be able to work in NZ. Anyone entering the country and undertaking work having not indicated an intenti on to work on their Immigrati on entry forms at the border is in breach of immigrati on law. Disclaimer: This arti cle is the opinion of the author, and does not represent offi cial Immigrati on New Zealand informati on. Rentals specialists The NZ Film & Video Technicians’ Guild is NOT an agent of INZ, Everything you need for location audio recording – and cannot provide advice about immigrati on issues. Anyone radio mics to portable recorders. See the full range at: www.soundtq.co.nz/rentals seeking informati on about New Zealand immigrati on policy and regulati ons should contact INZ directly at: www.immigrati on. govt.nz portable professional audio
Experience the latest in portable audio recording at Sound Techniques now. For information, email us today at Doco-maker MICHAEL MOORE on why he [email protected] or call (09) 366 1750. accepted funding from Paramount for his Equipment sales and rentals, including lease-to-own finance. movie Capitalism: “The capitalist will sell you the rope to hang we listen and give sound advice himself with if he can make a buck on it.” 136B Newton Rd, Newton, Auckland ph (09) 366 1750 www.soundtq.co.nz NZTECHO 26
Language Less Polite!
In editi ng the Tom Burstyn’s arti cles from the last two issues, educati on or imaginati on on their part, but that possibly people an issue arose for me as editor that I had not really considered used four-lett er words to fi ll the gaps when the words came out previously. A few ti mes during our taped conversati on, Tom of their mouths faster than they were able to think. used the well-known four-lett er word beginning with ‘F’; and I realised that the one occasion in the past where we did use the Thank God moving into the live theatre disabused me of at least word in this magazine when quoti ng someone’s thoughts (mine), that noti on. It was there that I began to be truly free with my we’d actually used the lett er F, with asterisks substi tuti ng for language, but again only in certain contexts. Within the theatre the other three, a common practi ce in print media. However, environment it seemed natural, where actors (and also crew) fashions change over ti me; and certainly there are plenty that do worked very long hours, in an environment where people were now print so-called four-lett er words in full. On the one hand, using their innermost emoti ons as part of their work, thus tend- my conservati ve upbringing leads me to prefer the euphemisti c ing to form very intense connecti ons with each other. When I expression; but on the other hand there seems to be a certain graduated from – if you can call it graduati ng from live theatre hypocrisy there - in that everyone reading the said euphemisms to fi lm work – I discovered that on fi lm sets language is almost understands exactly what the asterisks are clearly meant to as free and colourful as in the theatre! indicate! All through the years in these various diff erent environments However, what do to in the situati on? In a couple of places I felt I have wondered about the use of four lett er words. Why it is Tom’s use of the four-lett er word was not absolutely necessary; that we oft en feel the need to use words with shock value; and but in other places, not only was it necessary but absolutely what happens when that shock value fades through overuse? appropriate; and so on these occasions I chose to leave the four- I’m reminded of a situati on on a fi lm crew a few years ago, when lett er word as spoken. I was curious to see whether that practi ce piercings were actually sti ll novel. A young female fi lm student would elicit any reacti on. The answer so far – none whatsoever. turned up on set for work experience wearing a t-shirt with no underwear and a large nipple ring proclaiming its presence. She Looking back over the use of language in various situati ons in explained that she wore both the ring and the thin t-shirt in that our lives, especially in relati on to work, fashions have indeed way deliberately, to shock. I thought, What happens aft er we’ve changed over ti me. When I was brought up in a small rural area got used to it? Where do we go to further shock? Similarly with in a very polite family, Sunday School being a regular event for language… me, use of swear words was an absolute no-no in our house, and in school, to the extent that even utt ering the word ‘hell’ was The other questi on that has always struck me about the English regarded as extremely risqué! When we moved to the city and language parti cularly – Why is it that our most abusive swear I went to secondary school I discovered that many of the lads words relate to the one acti vity that almost the enti re world were much freer in the language than I was used to, but becom- agrees is probably the most pleasurable; and why is it that the ing a fundamentalist Christi an for a few years or so meant that most abusive terms we use to att ack someone relate to genitalia? my language stayed what you might call pure, clean. University, Is that true of all languages around the world, and, if so, why? I however, was a diff erent thing altogether - by that ti me I was have smatt erings of French, German and Maori, but nowhere dispensing with the fundamentalism and embracing a litt le more near enough to answer my questi on! But whether or not it is a freedom of language. But it wasn’t unti l I joined professional phenomenon peculiar to English, how on earth has it come about theatre that I discovered what freedom in language really meant! – and why?
During the university summer holidays it was common practi ce Tony F. to take a job in a factory to earn funds towards one’s support for the following year. I remember a rather involved discus- Wikipedia writes: sion amongst three of us students one summer about why the A notable quote regarding alcohol att ributed to W.C. Fields: full-ti me labourers in the factory were so free with swearing, the “I can’t stand water because of the things fi sh do in it.” F word in parti cular. It seemed that every second word spoken began with F and had four lett ers, and I remember one of us Comedian/actor Fields’ (more likely) original version: rather arrogantly postulati ng that perhaps it was not just lack of “Don’t drink water - Fish f*** in it.” 27 NZTECHO
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