AUTUMN 2015 | ISSUE 64

The New Zealand Film and Video Technicians’ quarterly

NZ film industry takes on gender imbalance Dissecting insurance myths Financial longevity: Chase money or dream? www.nztecho.com New Zealand’s largest and most modern hire fleet...... available at 60 locations nation wide!

Power Generation Access Equipment & Pumping Vehicles

Earthmoving & Portable Toilets & Barricading Compaction Showers & Fencing

Containers New Zealand’s largest EDITORIAL CONTENTS Autumn ia already here and it sure is lovely to be enjoying some March GUILD NEWS & VIEWS sunshine (although farmers and others around the country will disagree). 2 Behind the scenes and most We bring you a mixed bag of goods in this NZTECHO. Executive officer Karla Rodgers – Industry knocked for six Gender imbalances in key creative roles in the film and TV industry is a 3 President’s rave hot topic at the moment. Our cover story by Jan Sisley highlights some President Richard Bluck – New beginnings complexities around the issue and also what the industry is doing to address INDUSTRY it. The ball has already started rolling with South Pacific Pictures announcing modern hire fleet... participants in its trainee programme to be 50/50 men and women, a discus- 8 Gender on filmmaking agenda The film industry takes on gender imbalance sion has also been hosted by WIFT and DEGNZ. It’s a topic to watch and one NZTECHO will keenly follow. 12 Running for cover (and other musings) Roi Macgregor dissects industry insurance myths Producer Roi Macgregor dives into the murky world of insurance in the film 15 Regional wrap and TV industry and shares some great tips for technicians. It’s important ...available at 20 Speical tribute: David Comer, John Day 60 locations to be aware when you are or aren’t covered on jobs. If unsure then talk to production, your insurer or the Techos’ Guild. TECHOSPHERE Cinematographer Waka Attewell reflects on aspects of his ‘financial’ nation wide! 4 Fine print: Dancing the film festival beat journey through the film and TV industry. Waka’s had a go at everything from 5 Extreme close-up: Alexandra Sumner, post-production investing in trees to ‘selling his soul’ running a TVC production company but 6 Back in the day: Stu Dryburgh takes us back to an emerging film industry has this been enough to achieve financial security as he approaches 60? Waka Attewell reflects on financial survival NZTECHO is planning an article around financial future-proofing and I would 16 Point of view: love to hear from technicians with stories about how well or not so well 18 Techos tidbits Power Generation Access Equipment they’ve fared financially in the industry. What would you have done differently 19 Newbie profile: Andrew Galt & Pumping and why? What worked well? Email [email protected] Vehicles As always, thanks so much to all the NZTECHO contributors, especially Jan, Roi and Waka. Your support to NZTECHO and the Techos’ Guild is appreciated. One more important note before I sign off. The Techos’ Guild is seeking a new accounts officer. See page18 for more information. If you are an expe- rienced accounts officer, accounts administrator or perhaps an accountant returning to work then email your CV and a cover letter to [email protected] Hopefully you’re able to enjoy this NZTECHO magazine in the sunshine, as next time you hear from me it’ll be winter. Catch you then.

Carolyn Brooke, editor

Cover shot: South Pacific Pictures chief executive Kelly Martin. Credit: Jae Frew.

ISSUE 64 AUTUMN 2015 Editor Advertising Carolyn Brooke Advertising queries, please contact Karla Rodgers on 09 8899522 Earthmoving & Portable Toilets & Publisher/advertising (always dial 09), [email protected]. For a copy of our ad specs and Barricading Karla Rodgers rate card, please visit our website. Showers Design Compaction & Fencing Justin Westgate / biote Printing All contents are copyright New Zealand Film and Video TP Printing Services Ltd. Technicians’ Guild, 2015, unless indicated otherwise. May not be reproduced, copied or transmitted in any form without permission. Contributors Karla Rodgers Graeme Tuckett The views expressed in this publication do not necessarily reflect the views of the New Zealand Film and Video Technicians’ Guild. We appreciate Alun ‘Albol’ Bollinger Kevin Jennings Containers Tim Riley Andrew Galt the support of: Stu Dryburgh Alexandra Sumner Jan Sisley Roi Macgregor Waka Attewell Sioux Macdonald www.nztecho.com 2 | NZTECHO Autumn 2015

BEHIND THE SCENES With over 20 years in the film industry, Karla Rodgers is now executive officer for the Techos’ Guild. Industry knocked for six on Cricket World Cup Well 2015 has started with a hiss and a great big roar. It appears our Andrew Little released a press release on February 8th. From there it ‘cup runneth over’. was definitely out in the public arena, including on TV One news and in A major part of the start of this year was the employment of outside newspapers. The following day Radio Live talkback host Sean Plunket broadcast (OB) crew surrounding and the Cricket World Cup (CWC). devoted the whole morning to the issue with a resounding 90% of those Held in NZ, the CWC is an exciting event that showcases to the world who called in against the practise of bringing in cheap overseas labour. how wonderful little Aotearoa and its people are. Hopefully all of us are Sadly the situation is that the major event classification overrides all. And able to reap the benefits of this. Sadly though, there a dark side to how as Prime Minister John Key dismissively stated on the TV One piece “it this event has been staged in NZ. Given the classification of major event was up to them to hire who they wanted for the event”. It is disappointing status I can’t help but think that politicians may have failed to read some that Mr Key who appears to be very happy to ride on the positive wave of the small print. We appear to have given away some of our crucial of publicity that the NZ film industry is afforded but is not prepared to rights, in particular the right to ensure that all NZ residents are given the protect, or stand up for the employment of those who have made it opportunity to work on such events before we bring in overseas crew. internationally so well respected. Demonstrating how seriously flawed The host broadcaster for the CWC event is ESPN Star Sport, based out major event status visa processing may be, an additional news broad- of India. They in turn on-sell to other broadcasters to make their money. cast went out on TV One news on February 22nd alluding to breaches They employ the camera, sound, production managers and the like. of our immigration laws, with some of those who had entered the country They additionally contract a facilities provider, in this case, Broadcast to work with alleged undisclosed criminal convictions. Both broadcasts Solutions (BS) based in Hong Kong, they provide the outside broadcast can be viewed on TVNZ OnDemand on the respective dates or on the trucks and facilities. Techos’ Guild Facebook page. In December last year the Techos’ Guild was alerted by OB Guild The major event status legislation is fairly tight and additionally a recipro- members that details relating to crew employment seemed somewhat cal agreement. To make amendments to the legislation may take years, vague and cryptic and there was growing concern. After initial requests but this is what we as a guild will work towards. received by a ‘few NZ technicians’ asking for rates and quotes from NZ can and naturally wants to stage these great events in the future. It is ESPN and BS, crew emails went unanswered and as the days before however important that this does not come at the cost of our workforce. the event drew near there was a wall of silence. No contracts, schedules The next event under the major event status is the FIFA U-20’s World or call sheets. The numbers of NZ resident contractors approached for Cup this coming May and June. The television broadcast rights have work at that stage was less than 10. again been given to an international company so we will be looking very To initiate action we needed assistance as fast as possible and sought closely as to where technicians will be employed from. help to act on behalf of the Guild. Time was of the essence. Andrew Little’s office stepped up to the cause. Within days of our contact with the office, a letter was sent to the ‘Mr Big’ at ESPN. Although no response was received from ESPN, further dialogue with the handful of those initially contacted technicians was re-established from ESPN. We felt hopeful. The numbers however still remained dismally low and the wall of silence befell us once again. The identical scenario was simulta- neously happening in Australia with the same major event status having GOLD STARS & CHOCOLATE FISH been placed on the event across the Tasman. Two weeks before the event, crew lists finally came out and it became Big thanks to the following people for supporting and helping the apparent that the majority of crew were being brought in from countries Techos’ Guild: such as Sri Lanka, India, Malaysia, and South Africa. In short, they were N Sioux Macdonald for ongoing support to the Guild. bringing in cheap labour. We were made aware of the rate being offered N Jan Sisley, Waka Attewell and Roi Macgregor for NZTECHO to these crew. ESPN, who were going to make an incredible profit articles. being the host broadcaster, showed they were going to maximise every N To everyone who helped with branch meetings. opportunity at the expense of NZ labour. The estimate from both NZ and N All the members that keep us updated with contact details and Australia was that both countries had approximately 10% of their avail- other information. able workforce employed on the event. In numbers, of an estimated 200 N All members who pay their membership fees on time (unless positions, approximately 20 were NZ residents. All the NZ and Austral- you notify us otherwise, your membership renews on an annual ian crew who eventually were fortunate to get employment on the event basis as per your invoice month). were contracted below their usual rates. NZTECHO Autumn 2015 | 3

PRESIDENT’S RAVE Richard Bluck is a cinematographer based on the Kapiti Coast. A long-standing member of the Techos’ Guild, he took up the role of president in late 2014. New beginnings It’s a new year, the industry has revived from the doldrums of the last year The Guild has been involved in bringing this issue to the attention of or so and work is flowing in from home and aboard. It sometimes feels the country. Karla, has managed the publicity with great care and like there is too much happening, but at least that allows new people Andrew Little and the Labour Party have taken it up. It highlights an to get a chance to prove their worth. It is a pity that some people were area of the Guild’s work, which is growing in importance as some of the forced to find work in other fields and now the industry has lost their -ex policies of the Government cause concern for NZ technicians’ working pertise. Now we have to strike a balance between local and international environment. Immigration laws, which allow people to come in without projects to ensure we service both of them to the best of our ability. any oversight, new health and safety laws which will tighten up on the It’s just a few months into my time as president and I have begun to gain responsibility of managers and persons in positions of responsibility. new respect and understanding of the role of the Techos’ Guild in the Some good and some bad but all needing us to reconsider how we film industry. I was always aware that we were important. But we are a function and relate to our work environment key communicator between the various interest groups that make up One of the key tasks for the Guild this year is to undertake an update the industry. Karla Rodgers, as our executive officer, spends a lot of time of The Blue Book and the Safety Code of Practice. This year the Govern- keeping that dialogue open. There is more to do and I believe it is crucial ment is passing new legislation relating to Health and Safety so we need that we continue to represent the largest group of film and television to be proactive in keeping our working conditions in line with the law. workers in the country. As a member it is important to be active, support Although we are a multi-million, sometimes billion-dollar industry, we do the people who are working on your behalf and keep recruiting fellow not have large companies like Fletchers Construction and Downer (like technicians who are not part of the Guild. It is not a union but it is a the building sector does) to ensure on-going projects and established shared organisation that facilitates the environment that we work in. infrastructure. These companies have created complex systems to I was lucky enough at the end of last year to attend a film festival in ensure work safe practices and have invested in creating these systems. Bydgoszcz, Poland. Camerimage is a large festival that celebrates Our projects are so often one-off entities created for the film project we cinematography. It was very inspiring to be amongst a large group are working on. The Guild has become the de facto provider of health of international filmmakers. To see the camaraderie of the filmmaking and safety information without the resources of the building industry. community from all over the world and realise that everyone is working Although we have in the past dealt with many issues around the film towards the same goal of producing amazing films. This camaraderie industry it feels like we may have to take another step up and become is what should cement this Guild together, and it exists already and we more proactive in putting our point of view. The Guild should never be- should build on it. come a union but we have to examine our values and put them forward. The Guild was involved in recent discussions on jobs for the broad- Because if we don’t, the free-market will pass us over. We need to grow, cast of the ICC Cricket World Cup. NZ technicians were led to embrace more of our film and television industry workers, make it more believe that there would be jobs available in the television coverage relevant to our members and lobby the policy makers and politicians so of the games. It has since become apparent that only a small minor- they understand how our industry can help grow this country. ity of NZ technicians have been employed, around 10% of the total We are masters of our own destiny. jobs available. The overseas company who won the contract have employed and been given work status in NZ and Australia for South Africans, Malaysian and Indian technicians to do the jobs. 4 | NZTECHO Autumn 2015

FINE PRINT Tim Riley is a lawyer with Dominion Law, a specialist entertainment law firm that recognises that creative people need creative lawyers.

Dancing the film festival beat There’s no point making a film if no one is going to see it, says Tim Riley on the return of a sales pitch trip to Sundance. The process of persuading people to see the film – the selling and the marketing of the film – is a dark art and is little understood by many people in the industry.

In NZ we are really good at making films. The crews (you guys) are skilful, makers could celebrate their art free of the tedious demands of financiers efficient, and practical. We have some really great producers and world- and sales agents. The message from the top is all about “do what feels class directors. But the actual making of the film is only the beginning of right, not what the money guys tell you to do!” Which of course is a the project. You must get people to actually watch it. beautiful sentiment, even if often unachievable. (Although I am happy to Hopefully by the time the film is made, the first step in selling it has say that with our film, we really did allow the directors a pretty much free already occurred. This first step is invariably the selling of the film rights reign on creative decisions even when we didn’t agree, and they got to to a sales agent. The price that is obtained for these rights is often a key have final cut. Thank God because, as it turned out, and as we realised component of the production budget for the film. The ‘price’ that is paid upon watching the film with an audience at Sundance, they were usually is actually an advance of the expected sales proceeds, so ultimately you right and we were usually wrong.) have to pay it back once the film actually starts earning revenue. This is Although directors are treated like honoured family at Sundance, as an one of the functions of major film festivals – a market where producers A-list festival it is of course full of sales agents and industry people. with film projects (usually in the form of a script with talent attached) can I would not recommend going there without a sales agent and more meet with sales agents to do deals. I went to the Toronto International importantly a publicist (which will be arranged by the sales agent). Film Festival (TIFF) the year before last with Ant Timpson seeking a sales You have a short time to be on the world stage with a lot of very influen- agent for our filmTurbo Kid. It’s a weird process. You go to a lot of meet- tial people and media organisations around. You have to maximise that ings, sometimes in hotel rooms, sometimes in bars, sometimes in the opportunity. You can’t just turn up and wing it. We had Katrina Wan (with industry area at the festival HQ and you try to sell your project to people two assistants) from Katrina Wan PR in LA and she was awesome. From who are mainly completely disinterested. Ant and I ended up making a a few weeks before the festival she is hounding the film team for publicity good sale to Magnolia Films who were the top of our list (but who we material and pushing it in every conceivable venue. She was relentless. subsequently had to replace due to a disagreement over cast). And when she arrived at Park City she went into overdrive. Every con- The other main function of film festivals (particularly the A-list festivals: ceivable media opportunity was hunted out and pursued. Every chance Berlin, Cannes, Toronto and Sundance) is to sell finished films. And it is to get the directors and/or cast in front of a TV camera or print media for that reason that Ant and I ventured to Sundance in January this year. journalist was identified and taken. Sundance is in Park City, Utah. A tiny ski town in the mountains at Apart from the screenings and private meetings, Sundance, like all around 7,000 feet. It is stunningly beautiful. An old mining town with tree festivals, is about the parties. Every premiere has an associated party. and snow covered mountains all around. It looks like a movie set. You Every major sales agent, distributor, production company and funding can jump on a chairlift in the middle of the main street. The first few days body will host a party. The trick is to get invites to the best ones. And here I was there, it was 15 below zero (Celsius) in the middle of the day under you are on your own. You have to schmooze your way in. Or be hanging a blue and cloudless sky out with someone who is very well connected (hello Ant Timpson). You Here is what you need to survive Sundance. Warm clothes. More warm never know who you are going to bump into at these parties – it could be clothes. Some gloves. Shoes that can survive scrambling up steep a producer who is looking for a co-pro partner, or it could be an actor for banks covered in frozen snow in the early hours of the morning. Ear plugs your next film (we met Michael Ironside at a party at TIFF and subsequent- (I shared a hotel room). Duty free whisky (all the beer in Utah is 3.4% ly cast him as the lead baddie in Turbo Kid). I think it is really important to alcohol by law and it is illegal for bars to serve doubles). Know someone attend as many parties and functions as you can. More important than with a car and driver (hello Taika!). These are the bare necessities for catching films (unless you are a festival programmer). surviving Sundance. Meanwhile the real job of selling your film is (hopefully) being carried out Sundance is very different to TIFF and also to Fantastic Fest (a genre by the sales agent. As well as the public screenings there are a number festival in Austin, Texas). Fantastic Fest (which I attended last year for of Press and Industry (‘P & I’) screenings. These are purely for interested the premiere of ABCs of Death 2) is all about the fans and having fun buyers and for reviewers. Filmmakers are not allowed. I’ve been to a (although the industry is certainly well-represented there also. TIFF and number of these screenings at TIFF (when I wasn’t representing a film). Sundance are both A-list festivals, but with very different vibes. TIFF is They are interesting. People just get up and walk out after five minutes if very industry focussed and full of producers, sales agents, and distribu- they don’t like the look of it. Not many people stay to the end. They are tors doing deals. Sundance has probably the same level of industry not there to watch and enjoy the film. It’s purely business. presence, but it is really focussed on the filmmakers (i.e. the directors). If you ever get the opportunity to go to major festival, grab it with both As a producer, you can feel slightly unwanted there. Robert Redford hands. Whatever your role in the film industry, it is an interesting and created it as a home for independent film, and as a place where film- exhilarating experience. NZTECHO Autumn 2015 | 5

EXTREME CLOSE-UP

PROFILE: Alexandra Sumner, post-production How long have you been in screen production and how did you get started? I’ve worked in post-production for about 11 years now. After studying media at university in Plymouth in the UK, I got my first job working for a television post house. I always wanted to work in post-production and the company was a great introduction to the dynamics of this department. It was a busy and creative yet very technical environ- ment. I was hooked! I spent a couple of years there splitting my time between editing programmes and running a team of assistants, we maintained many edit suites in the offline and online stages of the edit. Itchy feet and a desire to travel led me to NZ, a place that has now become my home. I started out with a four month job on Great Barrier Island on the BBC reality TV show Castaway. Living on location I had a great time working with the Kiwi crew and after the show I moved to Wellington and established myself as a freelancer. I worked in post on a wide mixture of projects such as film festival documentaries, television shows, short films, feature films and corporate work. I loved the variety and was constantly learning something new. My next long term freelance job came when I started working as a video editor for TVNZ’s One News. I loved my time in the newsroom working along- Above: Alexandra Sumner. side the reporters in a fast paced environment. I then worked on a few TV feature films, before starting work at WingNut Films. Post-production is unique in that it literally sees a film build and come together through most stages of the project. It’s connected to many What genre does your work tend to come from? other departments, it sees all rushes shot by shot, and knows the film I’ve worked in many different types of post-production houses. I inside-out by the end. It’s interesting to watch the edit develop over time decided to focus on feature films and worked on a few TV features especially as more VFX, sound and grading work come in to the depart- before moving on to larger feature films. My work now tends to come ment. It gives you a great understanding of how every department adds from feature films that contain a lot of CG, motion capture and VFX value to a film and helps to create that great final product. elements. I worked on The Adventures of Tintin, a 3D motion capture computer animated adventure film, and more recently onThe Hobbit How have your rates changed/improved over the years? trilogy. Overall I like variety and constantly learning and pushing my My rate has changed about a bit as I’ve moved between different con- comfort zone. tracts but generally it has gone up with each new contract.

How easy is it to make a living in this industry? How often What sort of industry changes have you noticed? Have you do you work outside the screen production industry? noticed any trends? I have been very fortunate to have found work on long-term film pro- I think filmmaking as a medium has become more accessible to newbies jects and to have worked solidly for the past five years. However this starting out. These days if you have a laptop and a DSLR, you have wasn’t always the case and I know finding continuous work can be the tools to create something. Whilst this doesn’t mean the content a challenge. I haven’t always found work in Wellington and have had is always going to be good, it does enable people to have a go and to travel to where the work is. I’ve done the occasional bit of temping get creative. I really enjoy the 48-hour filmmaking competitions for this work too. reason – anyone can have a go at creating a story. Nothing can beat the value of doing a good film course though and working as a runner and How does your department work as part of the “whole”? learning from the ground up. That experience is invaluable. I think the biggest thing with post-production is that people don’t always realise how much commitment it takes to see a project What strengths do you think the NZ industry has? What through. Often we’ll start work at the pre-production stage, through could contribute to a more sustainable industry? to camera tests, the main shoot, pick-ups, and then the edit through to I think one of NZ’s main strengths is its amazing landscapes and the delivery. It’s a long process to see a project through. Often people on strong work ethic of the kiwi crew. It’s a small tight-knit industry here. set have moved on to a couple of different projects by the time post People don’t see each other as competition as much as I’ve found are still completing the initial job. On the plus side it can be easier to overseas and people are happy to help each other out. find longer term contracts than other departments. 6 | NZTECHO Autumn 2015

BACK IN THE DAY

Our people, our stories Academy Award and BAFTA nominated DOP Stu Dryburgh takes NZTECHO back to NZ’s 1970s and 80s film industry. While today’s wrap parties may not be as epic and health and safety practices are now more robust, may the long-lived passion in New Zealanders for filmmaking go on. In mid-1970’s NZ the film industry didn’t exist. Geoff Murphy was a trumpeter, Bruno Lawrence a drum- mer (I can still remember going to see Quincy Conserve at the Down- town Club in Wellington as a young teen) and Alun Bollinger (Albol) was being trained by TVNZ as a camera- man (though there was a problem in his refusal to wear shoes). But, people were trying to make NZ movies for New Zealanders. Geoff Stevens, David Blythe, BLERTA and Roger Donaldson among others. One of the most successful NZ films ever was Michael Firth’sOff the Edge, a doco about hang gliding in the Southern Alps. I didn’t really mean to get into the film business, my first love was actually radio, but that is a whole other story… In 1976 I graduated from Auckland’s School of Architecture, my final year So it goes. I was suddenly in Alexandra, as the gaffer on an international sub-thesis was presented as a 16mm film. (Thank you Professor David movie Battletruck (aka Warlords of the 21st Century). As a kid who grew up Mitchell for encouraging me, and Lenny Lipton for his book How to make an in Wellington, and as a young adult in Auckland, Central Otago seemed Independent Film.) Mid 1978 and with nothing on my resume other than six impossibly exotic. After the first week they replaced the original British DOP, months as a Sydney taxi driver, I was the perfect candidate for the nascent and in came Chris Menges with several feral children in tow (hello Una). film industry. Young, cheap, interested and unemployed – and therefore Chris, after a career shooting difficult documentaries, and brilliant British available. independent movies, had been hired as second unit DOP on the second Star Wars movie (The Empire Strikes Back). So suddenly he was the go-to A stint as a driver/PA/ lighting assistant on John Reid’s Middle Aged Spread, guy for sci-fi. I had been really lucky, NZ DOPs like Jim Bartle, Albol and a and I was hooked. I worked on a few commercials with DOPs like Jim Bartle whole bunch of Aussies, had taught me a lot about lighting in a practical and the late lamented Gary Hansen, and suddenly I was the gaffer on Good- sense. But Chris was all about windows and natural light, as a motivation bye Pork Pie. We really did take ‘that mini’ from ‘North Cape to Invercargill’. for lighting. And I got it. Maybe the best road movie ever. And I learned so much, from Albol and not For total misery it would be hard to beat Vincent Ward’s Vigil. Talk about to mention Andy Grant and Alister Barry. no art without pain! It was entirely shot in a dank, dark, godforsaken valley Over a couple of years in the Auckland TVC business I really thought I in north Taranaki. A really hard shoot. Even though, I got a chance to flex had become a gaffer. It wasn’t until I was best boy for Mickey Morris on my lighting abilities a little, as Albol focused on operating and working with Savage Islands that I realized how much I didn’t know. But that is also Vincent on story. They both encouraged me to run with the lighting in ways I another story… had never been given a chance before. The living conditions, while austere, Dorthe Scheffmann and I had both spent the early part of 1981 working had some benefits. Most of the crew lived in the Uriti motor camp, (now I on Roger Donaldson’s Smash Palace, she as the production manager, me bet there are some stories) but Brett Mills, Jannelle Aston and I shared a the gaffer for DOP Graham Cowley. Dave Brown was the other half of the derelict farm house, only months away from becoming a hay shed. The coal lighting department. When I got the call from unit production manager Jane range worked, so the kitchen was cosy, and we drank cheap red wine and Gilbert for (the late) Lloyd Philips and Rob Whitehouse, I left our almost played chess into the late hours – waking up to one of the best views ever renovated Ponsonby cottage. While it had hot and cold running water, there of Mount Taranaki. was a gaping hole in the middle of the kitchen floor, thanks Mike Becroft for And then there was Carry Me Back. Lee Tamahori bouncing BB slugs off the coming to the rescue. side of our lighting trailer, Brian Kassler and Richie Scott setting white spirit NZTECHO Autumn 2015 | 7

soaked grass afire on the top of a mountain pass in Marlborough. Actually Opposite page: John Day, hiding behind the Arri 2C, Albol, Murray Milne and Geoff Murphy on kidnapping and tying up fellow crew members at a dawn party. Goodbye Pork Pie. I have pictures but I won’t share them here, well actually maybe I will… Above, clockwise from top left: Dennis Thompson (grip), George Lyle and camera assistant Eric A little after BK had run through a party after a night shoot in a Vivian Street Briggs helping out his sound friends, on Came a Hot Friday; Lee Tamahori and Brian Kassler brothel, with a chain saw clattering (okay, he had taken the chain off first, at that Vivian Street party, Carry Me Back; Leon Narbey and Geoff Stevens at Central Platau; Graham Morris and his then boom operator at Central Plateau. but how was anyone to know that), 40 very drunk people spilled out onto the street at 8am. There was dancing, drinking and the playing of an upright piano, it was crazy and an affront to regular citizens driving to work, stuck a little bounce here and there, taking turns in holding the occasional piece in the crosstown traffic on a Monday morning. Definitively the best time had of poly. So, at lunch, we hit the beach, and as was the habit of those times, by any NZ crew, ever, and universally reviled by critics. Mind you, my friend we smoked a little of the local herb. Actually, quite a lot. And top shelf. I Malcolm Walker reckons it the best NZ movie of the late 20th century. But mean, what could go wrong? Well, 10 minutes after we were called back he is from Hokitika. from lunch, solid black clouds rolled in from over the Waitakares, and it In 1985 I made the jump to shooting – my last jobs as a gaffer had included began to rain. Hard. Very hard. For the rest of the day. Production genius as another two stints in Taranaki on Pallet on the Floor, with DOP Kevin ‘Bertie’ he is, Lee calls out an audible – “okay everybody, no worries, we can shoot Haywood and director Lynton Butler, and Came a Hot Friday, another Hugh the scene inside the church”. You know how that goes, camera and actors Morrisson story brought to the screen by Ian Mune and DOP Albol. inside, but the lights? Outside in the rain. Which meant that three very stoned electricians were building zip-up towers, rigging HMIs and cabling Which leads me to almost my favorite story from that era – a cautionary tale high voltage in what was effectively a lake. With their brains slowly leaking really. Summer 1983 and I was the gaffer on a movie then called Finding Katie, released as Trespasses I believe. Lee was the AD, John Cullinane his out their ears. I have never, ever, again taken drugs at work, to this day, ever! second, and Leon Narbey the DOP. The lighting department was me, Millsy Not to say that my subsequent career as a DOP hasn’t been rewarding, and ‘Gooch’ Evans, working out of my newly built Nissan four wheel drive and even fun. Definitely it’s had its weird moments. But the first 10 years lighting truck. I loved that truck! And it was a very slow day for us. We were as a neophyte gaffer, at the dawn of a brand new industry was very special. shooting out at Bethells Beach, near Auckland, near a small church built on The people making it happen weren’t in it for the money, had no expectation a headland by our designer Kay Hawkins and his art department. A grave- of success, they just wanted to make NZ movies, for New Zealanders. May yard of polystyrene headstones, day exterior, and a perfect day for it… that attitude prosper! Telling our own stories, ourselves. 8 | NZTECHO Autumn 2015

WIDE ANGLE Gender on filmmaking agenda

Just five years ago Kathryn Bigelow became the first woman to win an Academy Award for best director. While there is no denying the caliber of her work on the film The Hurt Locker, the notoriety of this feat arguably outshone her personal achievement. When it comes to the statistics on film industry gender imbalances, New Zealand might fare better than some countries but unfortunately not by much. By Jan Sisley.

Just 3% of all cinematographers from the 250 women represent 44% of all screen industry top-grossing US films over the last five years workers for the 2012 financial year. On the were women. In NZ the figure isn’t much bet- surface this isn’t bad. It is a figure that has held ter, at 9% women cinematographers for the 31 steady, only falling 1% from 45% in 2005, feature films supported by the New Zealand and is only slightly behind the total labour Film Commission (NZFC) for the same period. force of around 47% female. However, in International film industry statistics show- breaking this number down, the stats highlight ing significant gender inequality, especially in divisions in the roles women take in the indus- key creative roles, have increased the focus on try. Significantly more women are employed gender in the NZ film industry. There seems in distribution or exhibition, with more men to be no quick fix to the issue, but the good working in the contracting and producing news is industry discussion has started. Women sectors of the industry. in Film and Television (WIFT) New Zealand In completed dramatic feature films supported and the Directors and Editors Guild of New by the NZFC, for the years 2005 to 2014, Zealand (DEGNZ) hosted a discussion about women made up only 26% of selected key crew industry gender imbalance. Talk centred on the members. Note these 49 films are just a sample underrepresentation of women as directors and and figures were taken from NZFC records. editors, but the issues are equally relevant for Only three of the 49 had a credited female women technicians working across the indus- gaffer and only four women were credited as try as grips, ADs, costume designers, cinema- visual or special effects supervisors. Camera tographers, producers, soundies and so on. and electrical, and the sound departments, A quick look at gender inequality in the NZ along with visual and special effects consist- film industry, its contributing factors and what ently employ the fewest women, especially can be done to address inequalities comes in senior roles. Only make-up, casting and with the realisation that this issue is large and costume have a majority of women with very complex. Statistics New Zealand’s figures show few men moving into the female dominated make-up and costume departments. NZ figures Division in which crew roles are occupied by Above: My Wedding and Other Secrets reflect the gender gap of the international men and women is perhaps a bigger problem originator/co-writer/director Roseanne Liang. Credit: Jae Frew. reports and there is no sign of it closing. As in than that of just the percentage of women to other countries, clear divisions exist in the jobs men in the industry as a whole. that women are getting. It is hard to know why such divisions exist. Do Within membership numbers for the New women crew members simply choose certain Zealand Film and Video Technicians’ Guild roles over others or is it due to gender biased (Techos’ Guild), women are reflected similarly hiring practices? One reason could be that to the NZFC figures. Both overall and in terms some of the jobs are physically demanding of what roles are represented. Just two of the and there is a perception that women don’t 12 on the Techos’ Guild’s executive committee have the physicality to carry out the work are women (about 17%). And 25% of elected required. Another could be enduring con- officers and executive board are women, just a ventions of which jobs are seen as ‘male’ and little higher than the total female members of which are seen as ‘female’. Any of the variety of the Guild, currently about 22% female. Percentage of males and females in the screen industry by industry sector (2012) For the past ten years, gender crew splits Industry sector on narrative feature film made with NZFC Industry total funding, women feature in roles as follows. Exhibition Directors 16%, writers 21% men, executive Distribution producers 22%, producers 36%, editors 16%, cinematographers 7%, production designers Broadcasting 18%, composers 19%, sound designers 0%, Contracting supervising sound editor 8%, sound recordist Producing 2%, gaffer 3%, key grip 3%, 1st AD, 33%, SPFX 0 10 20 30 40 50 60 70 80 90 100 supervisor 0%, VFX 8%, casting 73%, costume Percentage of employees Female Male 80%, make-up 100%. Source: Statistics New Zealand 10 | NZTECHO Autumn 2015

reasons are correct depending on the situation. less represented crew? These women producers Of course, there are established and emerging serve as role models for aspiring filmmakers and female filmmakers and technicians who buck crew, and are responsible to a greater or lesser In an effort to address the trend but the overall problem isn’t showing extent for hiring the crew they work with. gender disparity South any sign of correcting itself. And it is a problem In an effort to address gender disparity South for reasons that are as many and varied as why Pacific Pictures chief executive Kelly Martin Pacific Pictures chief it happens. These include female crew members announced late last year that the company executive Kelly Martin finding it harder to get hired, the number of would implement a 50% ratio of women to female crew available for work is much smaller men in its trainee programme. A significant announced late last than it could be meaning a smaller pool to step for a major production company to take year that the company employ from. and it will be interesting to see what changes Ways to encourage more women to move into or benefits come from it and whether others would implement a the technical departments should be looked at. will follow suit. Talent must be nurtured and 50% ratio of women The writer, director and producer have the big- supported regardless of gender and a more gest influence on any production, closely organic approach could be just employing to men in its trainee followed by leads in the various technical more women in entry level positions and then programme. departments, the DOP and so on. What, if any, encouraging them to gain experience, hone is the role or responsibility of women producers their skills and move into roles, whether these (who are relatively well represented) and direc- are traditionally occupied by men or not. tors in increasing the participation of other Martin comments below. “For me it’s a no brainer. Women make up half the population. If we want to have programmes Percentage of males and females in the screen industry by job on the telly that appeal to all we need to be rep- Director resenting both genders in the creation of those Writer Executive Producer programmes. It’s important to have women’s Producer voices and men’s voices involved in the inter- Editor Cinematographer pretation and execution of projects within the Production Designer film and television industry so we get rich and Composer balanced content for everyone to enjoy!” Sound Designer Supervising Sound Editor DEGNZ and WIFT will continue to work with Sound Recordist Gaffer the NZFC and NZ On Air, to look at ways to Key Grip address issues around gender equity. 1st AD Sound Effects It was announced last year that each member of Visual Effects Supervisor the Screen Advisory Board would follow their Casting Costume particular interests. Jane Campion’s interest Make-Up Designer lies in gender equality and she confirmed in Total January that one of her goals was to encourage 0 10 20 30 40 50 60 70 80 90 100 more women to become filmmakers. Campion Percentage Male Female said the reasons for fewer women in the film industry are complex, and the fact that so few NZTECHO Autumn 2015 | 11

Opposite page: Left, White Lies writer/director Dana Rotberg and DOP Alun Bollinger. Credit: Todd Eyre. Right, South Pacific Pictures chief executive Kelly Martin. Credit: Jae Frew. Left: Step Dave producer/director Britta Hawkins with cast. Credit: Jae Frew. Below (left to right): The panel at WIFT and DEGNZ’s Where are the Women Filmmakers? discussion are editor Cushla Dillon, writer/ director/producer Gaylene Preston, broad- caster Kim Hill, documentary filmmaker and academic Annie Goldson and actor/writer/ director Jackie van Beek.

films directed in NZ have been made by women what strategies will best encourage and support is “kind of completely disgusting and teeth- gender equity in NZ filmmaking. Some are not clenchingly irritating”. She acknowledged it’s a fans of positive discrimination and yet others worldwide problem, but in doing so challenged may feel there would be a benefit from some NZ to take the lead in promoting gender equal- form of affirmative action. So that leaves the big ity in the film industry. “Let’s be the first, let’s question, what is your view? really say this is enough, this is really enough. It’s just not equal. By shedding some light on gender inequal- ity in film, we hope to start a discussion about what can be done to address these issues. Many present at the WIFT/DEGNZ event expressed support for affirmative action to address this imbalance, whether it be by way of a women’s film fund or in some other form. But even the discussions panelists of Cushla Dillon (editor), Gaylene Preston (writer, director, and producer), Annie Goldson (documentary filmmaker and academic) and Jackie van Beek (actor, writer and director), along with the moderator Kim Hill (broadcaster), had varying views on how the situation had arisen and what could be done about it. Such a complex issue should encourage diverse viewpoints, new ideas and healthy debate about NEW WEBSITE ARE YOU LISTED? MANAGEMENT LOOKING FOR CREW? WWW.DATABOOK.CO.NZ BOOK FREE STANDARD LISTING FOR MEMBERS. AROUND 1000 SPECIAL OFFER INTERNATIONAL FOR ALL NZTECHO MEMBERS VISITORS PER MONTH 20% DISCOUNT CONTACT KELLY LUCAS OFF PREMIUM & ELITE LISTINGS [email protected] Ph. 021 996 529 12 | NZTECHO Autumn 2015

IN FOCUS

Running for cover (and other musings)

Producer Roi Macgregor was tasked with dissecting film industry insurance myths for the New Zealand Advertising Producers Group Best Practice Guideline for Insurance. She shares the fruits of her labour with NZTECHO.

There’s no doubt The notion of a bunch of TVC producers outcome is a document called the NZAPG Best getting together to form a group in order to Practice Guideline for Insurance. that insurance is a improve the lot of production companies, There’s no doubt that insurance is a murky suppliers and crew is a strange one indeed. murky field. field. Each company seems to have a different With inspiration coming from the inimitable way of doing things, and different suppliers and Brian Kassler (one of the founding members crew have no real cohesive approach to making of the Techos’ Guild in the early 1980s), the sure they are covered. There are cases of being New Zealand Advertising Producers Group over-insured (i.e. the production company may (NZAPG) was formed. have cover for their equipment or vehicles as There is no ‘production company’ member- well as the supplier which seems to be a waste ship, with freelance, line (service) and produc- of money to me, but nice for the brokers) and tion company producers all welcome on an many cases where cover is ‘falling through the individual basis. This way we cannot fall prey cracks’. It’s a great initiative for the NZAPG to to cartel behaviour, and individuals are freer be doing this work and creating an open con- to speak their mind. With the NZAPG, Screen sultation with the Techos’ Guild. It is a genuine Production and Development Association and attempt to make life easier for everybody. Techos’ Guild working together it is probably I will endeavour to summarise the relevant the surest way to create a ‘level playing field’ points that might be of interest to crew and for our industry, so long as we all keep the suppliers: ‘mutually beneficial’ theme in mind. 1) Any SPFX, stunts, aerials, car-rigs, boat, As a member of the NZAPG, I was asked to underwater, train, airside or hero animal make sense of the various different insurance shoots should have special cover. Check myths and spent a good few weeks circling this with the production manager or producer multi-faceted beast. I was probably the perfect that this is in place. Note, anything that is choice as everyone else is busy doing their ‘out of the ordinary’ should also have this real job, i.e. producing TVCs, whereas I have question asked. the dubious honour of being ‘available’. The NZTECHO Autumn 2015 | 13

2) ‘Neg’ or data insurance: we have developed 5) Equipment insurance: Check if the produc- a three-tier system which allocates cover tion company has their own cover and if so, relative to the size of the job. There is also a what is the total sum insured? If they do not, ‘Best Practice’ guideline for data. Ask your or if the sum insured is not high enough to production manager or producer if they are cover your equipment, then raise this issue able to supply you with this information. with production and charge a percentage of 3) Public liability suppliers: All suppliers of your insurance costs to the job. Equipment equipment must carry their own public vehicles must be insured under a motor liability. Find out the exclusions of cover vehicle insurance policy. from your broker e.g. aircraft, airside, trains 6) Vehicle insurance: Check all driver licenses etc. and ask any potential driver if there are any 4) Public liability crew: The NZAPG have driving convictions pending. negotiated (through Crombie Lockwood If the production company carries vehicle and underwriters Cinesure) that produc- insurance and if you are expected to use ers who are members of the NZAPG, can your private vehicle on the job, ask to be Above: Roi Macgregor. send the crew list of the call sheet to their included in their cover (this should be as broker (check the broker’s underwriter simple as having your vehicle listed on the is Cinesure). This will ensure that each call sheet or in a movement order). If they individual named crew member is covered have no vehicle insurance, ask production under the production company’s own who will pay the excess in the event of a public liability insurance. However (and this claim (best to clarify this before it happens). is important), check for exclusions per #3. All this obviously requires extra work for You are also encouraged to carry your own production and nowadays budgets have been public liability insurance but it would seem shrunk to a point where there is often not to be an unnecessary extra expense so long enough pre-production time allocated. Any as you follow the above steps or ensure they good producer or production manager would have been taken by production. normally take the time to talk with all the sup- 14 | NZTECHO Autumn 2015

pliers and crew prior to a shoot. And this is crew member (let’s call him Joe Bloggs) dam- where I run off on a tangent. aged the interior of an aircraft. Joe generously The clients are the real winners (at least fis- (and in my opinion, erroneously) accepted cally). Gone are the days where production liability and offered to discount a relatively companies could quote a project and feel they large amount from his invoice. The production have allowed for everything that the job actu- company consequently expected him to dis- ally needs. We are cutting ourselves off at the count another 100% of the already discounted knees as competition has forced prices down amount. (unless you have a ‘flavour of the month/year There are a few factors at play here. Firstly, Joe director’). There is always someone who will generously offers to discount in order to main- come in cheaper. Therefore clients have grown tain a good working relationship. Secondly, the to expect this, and even express dissatisfaction production company had not advised crew or if a production is a tad more than the measly suppliers of the insurance situation or made amount allocated. And yet they will be the first alternative arrangements. The clients are the to complain if they have to make the long trip In my opinion, this situation arose when real winners (at least to the unit table themselves. We only have our- nobody raised the potential issue during selves to blame as we (production companies) pre-production. If there had simply been a fiscally). Gone are the have allowed this to happen. Not allowing it to conversation with the agency/suit/client that days where production happen would be called ‘collective bargaining’ the production company is a ‘named insured’ and be illegal. Agency producers and suits I for the duration of the project, then the client companies could quote have spoken with are also dismayed about this would have and should have been liable for turn of events. It’s not good for them either, as the damage. Which makes perfect sense, as it a project and feel they not only do they have to justify every cent, but is their product for whom all these buckets are have allowed for their margins are smaller on smaller budget labouring. jobs. And there is a palpable sense of fear in our I feel we need a ‘sea-change’ of attitudes in our industry that (similar to the Cuba Mall bucket everything that the job industry. Barriers have been built through lack fountain) spreads fear and anxiety from the top of trust, but we are all on the same fountain. actually needs. bucket down. Agencies don’t want to lose We need producers, production managers, crew clients, production companies don’t want to and suppliers to question issues like safety, damage relationships with agencies, and crew insurance cover, hours worked etc. They need don’t want to damage relationships with pro- to do this without feeling they will be penalised duction companies. And so crew are agreeing by being cast aside on the next job. It needs to deals or rates in order to maintain a constant to be a cohesive effort so that liability can be workflow. And back up the fountain it goes… passed on to the people who should have the I can illustrate this scenario with a recent event ultimate responsibility. In my opinion this in which a client dictated the terms and dura- would be the client. tion of the shoot due to product availability. This resulted in very long shoot days and short Roimata Macgregor came up through the ranks turnaround time. The filming had to take place the old fashioned way – as a runner, in casting, ‘airside’ and possibly the production personnel in locations, a PA, a PM and a producer. She did not have time to check with their broker worked at the successful yet ultimately ill-fated regarding insurance, otherwise crew would Silverscreen Productions for most of her career. have been advised that there was no public Roi now freelances and is based in Auckland. liability cover. Due to fatigue a supplier and

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REGIONAL WRAP

Take one – Auckland Take three – Queenstown 2015 has started off with a hiss and a roar. Ongoing productions like The summer season has kicked in, and in Otago, Southland we are enjoy- Power Rangers, and Shortland Street are back into full swing here in ing beautiful weather and a busy workload. This seems to be echoed Auckland. South Pacific Pictures are in for a good season with the next around the country, with large projects setting up base in Auckland and series of Step Dave going back into production and 800 Words shooting Wellington, the correlation between the raise in incentives and a busy simultaneously. industry is obvious. Things are polar opposite from two years ago, when we had no work for The TVC industry is going strong, after a somewhat sluggish start to crew. Now we have no crew for work. It’s a nice place to be. We watch the year things are humming along with our traditional summer burst. It happily on and crew have been snapped up to work on more potential long appears this year is somewhat different than recent years as it coincides termers such as Shannara at the Auckland Film Studios. Crew finished with the bigger projects in the North absorbing crew and therefore creat- shooting in January on Chloe Smith’s Lumen job. Many were booked to ing challenges to crew jobs locally. go on to the newly announced and eagerly awaiting Bruce Campbell/Rob The tourism industry is absolutely humming in Queenstown, and while this Tapert/Sam Raimi Ash Vs Evil Dead production in autumn. A lot of crew is great for the local economy it is putting a strain on finding accommoda- also took off for a few months to join the teams in Wellington on Krampus tion for visiting film crews as well. There always seems to be challenges in for six weeks. Some are travelling all around the North Island with Disney’s our industry, however, we (production) seem to find a solution. remake of Pete’s Dragon. The TVC market in Auckland is still on an even keel compared to years gone past, which is just as well, given the lack of In the last update I mentioned another thing that was humming: drones. available crew and equipment. They are still one of the hottest topics of discussion among my peers. The New health and safety reforms come into law this April and will affect all number of operators and units hovering about is growing exponentially. crew and producers in our industry, none more so that those that drive Sensible, safe and usable management of this new technology is crucial if heavy vehicles. This is something each and every one of you will be person- we are to fully realize their capability. In the meantime, be careful out there. ally be responsible for. You need to understand and keep up to date with Kevin Jennings, Queenstown branch member the changes, although we at the Guild will hopefully be able to walk many of you through the changes as the new laws come in. Sioux Macdonald, Guild vice president and executive committee member Take two – Wellington What a difference a year makes eh? Last Christmas, we were wondering what effect the new incentives package might have on the industry. By the end of 2014, we were crewing up two massive features, and looking forward to a few more before the year is out. For the big studio films, this is looking like the beginning of a very good run of work in Wellington. Alongside Pete’s Dragon and Krampus, we know that the Avatar trilogy is still coming, with the promise that a lot of the live action and mo cap work will be happening in Miramar. Thunderbirds is also somehow still finding the space to work at Stone Street, and we hear there’s lots of other bits and pieces going through Weta Workshop. But, as with all the ‘big years’ in Wellington, the downside is that the TVC and TV work dries up. Too many Auckland and international producers still believe that if Miramar is busy, then there’s no other crew available in Wellington. It’s a myth, but it does damage our commercial industry, which is a pretty fragile beast at the best of times. But, if you’re a production manager looking for a place to shoot, don’t take Wellington off your short list. We can still put a world-class crew together for you down here, even when Robert Redford is in town! In other news, Wellington feature What We Do in the Shadows just opened in North America to rave reviews (92% on Rotten Tomatoes) and good box office. Bloody well done team, it’s a terrific film. We’re looking forward to a good year down here. The New Zealand Film Commission seem to be heading in all sorts of positive directions, there’s good news afoot about new local movies getting underway, and we might even see some real TV shot here before winter. Watch this space. Graeme Tuckett, Wellington branch member 16 | NZTECHO Autumn 2015

POINT OF VIEW

Is this success? Cinematographer Waka Attewell had financial insight early on in the TV and film industry. He built a studio, ran a production company making TVCs and bought property – he even invested in trees. So why then is paying the mortgage still a struggle? Am I the right guy to be giving advice around having financial security in the TV and film industry? Well, I’ve traded out of the two dark holes the financial industry blessed us with, so perhaps I am. You see, for me, coping financially hasn’t been so much as putting money aside for a rainy day but, rather, investing in a few concerns outside the film industry. However, while a bit of forward thinking can see you through the rough patches, it’s actually about first find- ing that balance between work and life. There’s an old saying that goes ‘find the thing you really love and you’ll never have to work another day’. In other words, find that delicate balance between a career and having a life in this thing called ‘the film and TV biz’ (which I still believe is about the highest end of the creative spec- trum that you can get.) So sure, there are high rewards, but the downside can also be very low. Mental health issues in people in the TV and film industry can be way beyond normal levels if compared to other industries. In no small part is this due to increasingly stressful work and economic conditions. It helps to be a little mad to contemplate a life in the ‘film and TV biz’! Around 1987 (and after five years as a commercial production house) I rocked up to my accountant, feeling complacent, with that glow of ‘successful businessman’ written all over me. Straight off, he Cinematographer Waka Attewell has been around long enough to know the turns and roundabouts of the TV and film industry. proclaimed we weren’t making enough money and that we’d have to get ourselves to the next level or we’d sink. Eh? In the beginning I had a great relationship with my bank, which came Here began my disillusionment with this thing called ‘the economy’, and about after I happened to sell a documentary to a lot of international territories, and my account was soon awash with US dollars. But this my relationship with the dollar and the workings of the banking industry. occurred before I was even aware that I was in a film ‘business’. Suffice It was like trying to understand a foreign culture, being judged as if on to say there was no plan. And, because of the sudden arrival of money the verge of poverty when I was already making what I thought was (in all honesty a wonderful fluke), I stumbled into that strange world of enough to provide for staff and compliance. Having the concept of my finance, involving talk of shares, mortgages and investment opportuni- worth being redefined by the lawyers, accountants and bank managers ties. But, much to the horror of the bank, I wanted nothing to do with who wanted to be my future. Measuring wealth by the number of blips this, for their expectations and formulas required that we do it again, and on the computer was even more foreign to me, it felt like being groomed again, and again. I went against advice and put the money in a 3% sav- for a slightly grubby business deal. A ‘Sophie’s Choice’ dilemma, make ings account and told the bank to leave it alone! I built a studio instead. money off TV commercials, or flag all that and make the documentaries I made it up as I went along, the proverbial cork in the tide, and I thought or feature films that spoke to my heart. by running a business I would discover the ‘how to’ along the way. But Their advice encouraged my company to chase the money and put aside I didn’t know it was going to challenge my moral compass so intensely, the ‘worthy pursuits.’ What followed were endless days of standing in fact, I didn’t know I had a moral compass until I tried to discuss the around a studio, making food and cars look sexy, while trying to answer merits of a sugar product with artificial flavouring (and some spurious ad-agency questions like “can you make it softer and harder in a natural claims about nutrition in the fine print) versus the health of the nation’s sort of way?” Or, as you lined up the chocolate bar, the account director teeth. It seemed that being in business meant compromises and the wanting reassurance that it had ‘appetite appeal’ (as a pouting-made-up- ability to look the other way, while pocketing the commercial/corporate mouth simulated a sex act). money without a backward glance. NZTECHO Autumn 2015 | 17

I thought being in business involved a profound form of honesty. I Out of the frenzy of continuous TVC production the 1988 crash made believed that there was something ‘hallowed’ about forming a company, me think for a moment outside the film TV business and I put together a that everyone had the same inherent good and this would be a natural forestry investment. I also threw some money into property, and later a extension of all business dealings. I’ve been proved mostly right and building and a farm. Spreading the risk seemed like a good idea when mostly wrong, getting it mixed up for the last 40 years, but I wouldn’t the industry collapsed again in the mid-1990s. The wheel turns again have it any other way. and we end up in the same old place, just a bit wiser. After the second, It seemed that over the ensuing years, every time we caught up with third financial collapse (and a trending fourth) you start to notice a the bank(s) needs-wants-demands, the rules changed. Sly? Nah. It’s just worldly pattern. the way business is done in the West. Cunning? Definitely. I now finally In the 1980s running a small business with no skills in management, realise that it must be scheming about one’s money is what a bank accounting or marketing, was a blessing – ‘good advice’ would have does, although unfortunately it never seems to be for the good of the got in the way – but in those days a small business was doable, and community, only ever for the good of the bank. True, they’ll do it with a ‘compliance’ was manageable (once you discovered what it was!) smile. I know this because I worked on the first banking TVC that put Things haven’t changed that much actually, though the language is a ‘a smile into banking’! bit different – start-ups, internet, crowd sourcing – yet the need to read The notion of having a company making TV commercials that could sub- one’s moral compass is still the same. Do you chase the money or have sidise the work of the documentary makers (and in the process support a a life? Finding a way to do both and be able to live with your decisions dedicated group of people) seemed like a logical step. The idea that you is still the tough one. Following the orthodox route can leave you empty could fail at such a pursuit never occurred to me. Blind ambition, along and feeling abused, while being unorthodox will leave you open to with the inability to imagine pain before it’s actually being inflicted, is a ridicule. I have no answer for this, but ‘unorthodox’ is where all revolution good thing. I was doing the work I felt I’d been put on the planet to fulfil, and change for the better begins. Maybe it’s worth taking the risk. while also ‘working for the man’ (i.e. selling to consumers who didn’t Waka Attewell is a freelance know they needed to consume.) Call me an opportunist – but a career cinematographer, director and writer. of documentary and social comment, and feature films, as well as TVCs He is a 40-year ‘survivor’ of the local and corporate work just about covers the lot. Is that success? and international film and TV Owning my own studio created the need for constant cashflow, because business. He lives on a small sheep of the ‘smiling’ bank involved. In time I got the feeling the bank thought and beef farm in Otaki. I worked for them – and perhaps they were correct in this notion – but, most importantly, we were still having fun and pushing the edges of dis- covery. Yet the company does become an entity, with its own needs and An article around ‘future financial proofing’ in the TV and film hungers, and it has to be fed like a furnace. It can become a monster, so industry is planned for the next NZTECHO magazine. Editor Carolyn be careful what you feed into the flames. Your life is more important than Brooke is keen to hear from other long-time techos about how well the fuel required to keep that fire burning for just another week, day, year. or not so well they’ve fared financially over the years. What would Be careful in the details with banks too, this can be another complete you have done differently? Or the same? Advice for others starting drain too. And, by the way, the choice of a business partner is critical. out? Email [email protected]

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TECHOS TIDBITS

Contracts, deals and safety Safety: It starts well before they call “action” The area of safety that has been brought to the Guild’s attention relate In recent months, as work in the TV and film industry has ramped up, to the crew who are on the job first predominately construction and Techos’ Guild executive officer Karla Rodgers has received many art department. In these early stages, safety can often be somewhat calls relating to contract, deal memo and safety issues. Here’s Karla’s overlooked with work often being off site or well away from the produc- thoughts on these important matters. tion office. More than often a safety officer has not been contracted. Construction, working at heights and art department with chemicals in Deal memos: Now what did we agree again? fact pose some of the greater risks in the industry. As mentioned earlier If you have not received a deal memo before you start work then email a good portion of this work is conducted in pre-production. It is the pro- the production with your understanding of the key points discussed. duction’s responsibility to minimise risk and show that they have taken Rate of pay, hours of work, work week, turnaround, public holidays every practical step to do so. If this has been overlooked then as a crew etc. Ask the production to email you back to confirm that you have member be pro-active and make a noise as you should not be put at interpreted the terms correctly, or not. In your email indicate that if you risk. Ask production to send a safety officer into your of work area to do not hear back from the production before you start work you will assess and identify areas of risk and put a safety plan in place, before work strictly to The Blue Book guidelines until written confirmation of you start work. Put your request in writing. If no safety officer has been your deal is received. contracted for the production then insist they contract someone for Contract: Did you read before you signed? the day to assess your work space. This is a practical and reasonable request. The production schedule is not an excuse. It is not accept- Contracts can be hard to read and interpret. As previously advised, able to wait for the safety officer who may not be due to start until crew need to get organised with a crew rep. There appears to be closer to the first shooting days. If this is not done, you as a contractor some misconception that productions do not like crew reps. The reality have shown your attempt to minimise risk and the production will have I am receiving from productions is that they would rather deal with shown that they failed to minimise risk. It is morally your responsibility as one or two people than every individual crew particularly when issues a crew member to minimise risk. arise, as they often do. The crew rep (or better yet crew reps) need to start as early as possible. Often construction are the first ones on board. Organise a crew rep then – maybe later get another once the production is close to fully crewed. Ensure as a group that you read Accounts superstar wanted your contracts and do not hesitate to question any areas that appear If you are an experienced accounts officer, accounts administrator or to be unclear. There have been incidences where contracts may look accountant returning to work (or if you know of someone who is) then the same as contracts you have had in the past but details such as here’s an opportunity to save money and time working from home for the ‘turnaround,’ ‘public holiday’ etc have been changed. So make sure you Techos’ Guild. The Guild is looking for an accounts superstar to work read the fine print and check the pertinent points such as rate of pay/ with the executive officer in driving the Techos’ Guild forward. The role hours of work/work week, turnaround/public holidays etc. It is your includes accounts payables/receivables, GST, PAYE, bank reconcili- responsibility to be aware what you are signing up to. The Guild cannot ations, membership database operation/management and monthly help you if you have not read and signed your contract. You are much reporting. This role is 10 hours per week and can be worked from home. stronger if you work together, particularly if your contract throws a curve Our ideal candidate has five-plus years of accounts experience along ball, as a group you are in a better position to negotiate. Additionally with experience in using Microsoft Excel, Moneyworks accounting and remember, that once you have invoiced and received your first wages membership database systems. We need someone who can work deposit, whether or not you have signed your contract or deal memo, autonomously, is self-directed/motivated and can see the bigger picture that by accepting payment you have affectively accepted the contract of the Guild. If this sounds like you then email a cover letter and CV to or deal memo. Karla at [email protected]

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NEWBIE PROFILE

PROFILE: Andrew Galt, grip How long have you been in the industry and how did you get started? I got started at the NZ Film and Television School in Wellington and I’ve been working since I graduated from there in December 2014. I have been lucky enough to always have something on or coming up so I’m fairly busy.

Why did you choose film/TV as a career? Because it’s a challenge mentally, physically and emotionally. Movies and TV is where you can experience all those things that real life can- not always offer. To me there is nothing cooler than being involved in making that come to life.

What has working experience taught you that study didn’t? The mood of a real set and the mindset of others working in the indus- try. How people are making it in the real world and how projects come together. To keep working as often as you can, you are going to meet fantastic people. I’ve learnt a lot about how projects come together in the real world.

Are you able to make a living in the industry? Do you work Above: Andrew Galt.. outside of it at all? I currently can’t make a living in the industry but I am getting closer and closer. I work a full-time casual job during the week. I think it’s difficult for a lot of people to make a living solely within the industry.

What have you learnt about your department as a whole? Professional What are the strengths and weaknesses of your Lighting department? I have learnt that, as with all departments, it is important and complex Services Ltd and can be artistically rewarding. I enjoy gripping because it’s a good physical job but I would like to work in the future in a position with more creative input.

How easy or hard is it as a newbie in the industry? What are attitudes of other crew like to you? NOW BRINGING YOU I believe it is totally up to the individual and whether or not they make it easy or hard for themselves. In saying that though I do think filmmaking is an inherently challenging endeavour, with or without the economics, but that is partly what makes it worth doing.

What strengths do you think the NZ industry has? What could contribute to a more sustainable industry? I couldn’t say this early on. I don’t think I have enough experience or LIGHTING grasp of the big picture to comment on the NZ industry specifically but I would say to me it feels like a good time to be in the industry, there is a good atmosphere. As far as a sustainable industry is concerned, it’s like anything as long as it’s quality, people will keep coming back. Contact us for more information and pricing: Ph (09) 302 4100 | [email protected] | www.kelpls.co.nz

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SPECIAL TRIBUTE

David Comer Very sad news that David Comer passed away on Christmas amusing story about an inquiry that came from New York, asking day. He is widely recognized as New Zealand’s first international him if he could find a location similar to the reference image they location scout and one of our early exports into the global film provided, it was one of Dave’s images. Dave also directed Ata community. Dave was the chair of the Film Otago Southland Trust, Whenua, capturing the best of Fiordland. Watch Ata Whenua and and a stalwart of the NZ film industry. He was a soft-spoken, you will get a sense of the skill he brought to his work. We had a carefully thought-out person who had built the trust and support fantastic send off for him at Paradise, it was humbling to see the of not only producers and directors, but of the land owners who influence he had on so many fine people, a mark of the man. I am he made sure got a fair deal. He was also extremely generous with grateful for the knowledge and steadfast support provided to me his images, and though he knew their value, he believed in sharing for the last eight years. You will be missed Dave. for the betterment of the entire industry. He once told me of an By Kevin Jennings.

John Day John Day passed away on 7 January 2015, while travelling in India. Matte-Box Films that John produced and directed many award- John will be remembered by many for his humour, infectious laugh, winning commercials and music videos. Including the innovative kindness, and creativity. His first job in the industry as a camera- effects-laden video for Peking Man exploring visual options which man was in 1968, at NZBC. He then went on to freelance in the were only beginning to be used in the 1980s. In 1988 he co- late 1970s and worked on a trio of movies as focus puller includ- directed the Herbs documentary The Power of Music – Te Kaha o ing Beyond Reasonable Doubt and Goodbye Pork Pie. He worked Te Waiata with Lee Tamahori. It remains an iconic part of NZ music as camera operator on The Scarecrow, Desperate Remedies and documentary history. Aside from his commercials and documenta- all three Lord of the Rings movies. Many will remember John as a ry work, John also directed a number of television programmes. In pioneer in the early days of commercial production houses setting 1990 Matte-Box Films merged with Flying Fish, and John directed up Matte-Box Films in 1980 with Trish Downie. It was through his first featureThe Returning. He will be sadly missed by many. NZTECHO Autumn 2015 | 21

NEW MEMBERS

Join us in giving the following new members a hearty welcome! Auckland Tracey Collins, art dept (rejoin) Veronique Lawrence, Mao Callejo, editors Daryl Habraken, camera continuity (rejoin) Sean Martin, production Alan Wilson, lighting (rejoin) Aleisha McLardy, production Wellington Andrew Galt, grip Alastair Hopwood, art dept Aude-Ananda Kientz, Jim Marsden, art dept Richard Schuler, SPFX (rejoin) script supervisor Emily Ireland, wardrobe NATIONAL EXECUTIVE BOARD Harm Venter, camera Alexandra Sumner, editors President Richard Bluck 021 449 124 Vice president Like us on Facebook: facebook.com/NZFVTG Sioux Macdonald 021 969 609 Treasurer Nick Treacy 021 280 8950

Auckland chair Brendon Durey 021 866 977 Wellington chair Richard Bluck 021 449 124 Queenstown chair John Allan 0274 301 604

For full committee listing and contact details please email: [email protected]

TECHOS’ GUILD OFFICE

Karla Rodgers, executive officer Allison Peirse, acting accounts officer

Tel: 09 8899522 PO Box 68-294, Newton, Auckland 1145 [email protected] [email protected] [email protected] www.nztecho.com facebook.com/NZFVTG

Techos’ Guild office hours Monday to Friday, 9am to 3.30pm Outside these hours, please leave a phone message or email us. 22 | NZTECHO Autumn 2015

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