SUMMER 2018 | ISSUE 79

The Screen Industry Guild Aotearoa quarterly

Farewell We review John Reid’s history of John O’Shea and Pacific Films Film Otago, Southland: Who we are and what we do And, goodbye Andy Reid

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Contact our dedicated film industry specialist | Neil Bosman 027 204 6165 • Feilding • Nelson • Blenheim • Rangiora • • Queenstown • EDITORIAL CONTENTS GUILD NEWS & VIEWS Nau Mai! 2 Behind the scenes Haere Mai! Karla Rodgers looks back on a tumultuous year. In this issue, we say goodbye and salute one of the founders of the modern New Zealand film industry. Without 4 President’s rave Geoff, his many collaborators, and the sacrifices made by Annie Weston’s first column. And it’s a ripper. his family, there’s a very real chance that either you or I wouldn’t even be working in this business. His influence is INDUSTRY that great. 6 In Memory Of Waka Attewell worked on Geoff’s sets many times, and his Geoff Murphy. take on what Geoff did and what it took to achieve it makes 10 Spotlight On The South for a great read. We hope you find something in it that resonates for you. The Film Offices show us around. I’ve taken a page or two to say goodbye to Andy Reid 16 Whatever It Takes too. Andy was the bloke who got me into the industry, Waka reviews John Reid’s History Of Pacific Films and John O’Shea. who christened me ‘GT’ and who left an impression on 24 Regional wrap everyone he ever worked with. Goodbye old mate. And thank you. TECHOSPHERE We are also running Waka’s review of John Reid’s book Whatever It Takes, on John O’Shea and Pacific Films. The 5 Fine Print: Recommendations From The Film Industry Working Group. book looks like an essential read for anyone who wants to 20 Meet the people who represent you understand the roots of this industry, and why we do what we do. (Waka, you have been above and beyond this issue. 26 Newbie: Meet Reece Baker. Thank you.) 28 In Memorium: Farewell Andy Reid. We are also very happy to present the third part in our series on the film offices around the country, and what they do to assist film-makers in their regions. The Queenstown/South Island team have put together a great piece. Thanks guys. All that, plus the first ever column from our new President Annie Weston. Everyone who has held the office who we have ever worked with has said the one part of the job they don’t enjoy is writing these columns, so we always especially appreciate the effort! And we are featuring Reece Baker as our newbie of the issue. Anyone who has worked with Reece knows what a top guy he is. Welcome to the Guild Reece. Stay safe out there and over the summer, and we’ll see you Cover photo by Ken George. © 2004 New Zealand Film Commission, Capital Pictures Limited, NZ On Air and Spooked Productions Limited. all on set in 2019. All Rights Reserved.

Haere rā, ISSUE 79 SUMMER 2018 Love your work, Editor Advertising GT. Graeme Tuckett Advertising queries, please contact Karla Rodgers on 09 8899522 Publisher/advertising (always dial 09), [email protected]. For a copy of our ad specs Karla Rodgers and rate card, please visit our website. Design All contents are copyright Screen Industry Guild Aotearoa New Zealand Jason Bowden / Anim8a Ltd. Inc. 2017, unless indicated otherwise. May not be reproduced, copied or Printing transmitted in any form without permission. GOLD STARS & CHOCOLATE FISH TP Printing Services Ltd. The views expressed in this publication do not necessarily reflect the Contributors views of the Screen Industry Guild Aotearoa New Zealand Inc. Waka Attewell N Karla Rodgers, for getting through another year, with the Guild in Graeme Tuckett better shape than ever. 2018 has been momentous for everyone in Karla Rodgers Grace Alexander the Guild, and Karla has worked harder than anyone to see us all Tim Riley through it. Thanks you. Annie Weston N And to our new and returning executive members. Thank you for Kevin Jennings Nic MacAllan everything you do behind the scenes and on set to keep this vital Kahli Scott organisation functioning the way it does. N Merry Christmas and a great 2019 to come. www.screenguild.co.nz 2 | NZTECHO Summer 2018

BEHIND THE SCENES With over 20 years in the film industry, Karla Rodgers is now executive officer for the Techos’ Guild.

Executive Officer Karla Rodgers looks back at a tumultuous 2018

Kia ora all, Unfortunately in some instances the latter has been the Well here we are again, another year done and dusted!! approach and understandably not received well by crew. This year at the Guild we slowed down from the manic For productions who have introduced this work- infrastructure revamp activity of last year giving time ing structure with fairly good results (I would not say to refine and tidy up the many loose ends from the perfect), the approach has been democratic, where previous year. in the first instance, all HOD’s having been consulted We also entered into a new era of partnership with and then been asked to present and discuss with their government on how the new work legislation should departments the alternative option offered. Thereafter, look and be defined within the screen industry. It was the HOD’s have been asked to vote on their depart- refreshing that the screen industry was identified as ment’s decision. If the majority accept the alternative having its own framework and not slotted into a “one working conditions then it must be accepted that this is size fits all”. A consultation group was formed made up the way the production will proceed. But it doesn’t end of key screen industry representatives (known as the there. HOD’s need to present any problems they fore- Film Industry Working Group FIWG) with SIGANZ be- see and solutions be sought in collaboration with the ing represented by our vice president Sioux Macdonald. production to mitigate a way forward before shooting The recommendations presented to the Minister will be begins. For example, some departments not getting suf- crucial as to how the screen industry moves forward. ficient breaks, (not just lunch breaks but toilet breaks). We await the Ministers’ response and will continue, as One solution has been that the 1st AD stop shooting we have throughout the year, to update you as officially to allow catch-up time. Put in place, this process has confirmed information and milestones come to hand. not necessarily been perfect, but manageable. For the productions who have approached this in what I would On the production front as we end this year there describe as a respectful manner, they have additionally has been a significant shift in the requests by some ensured there are at least two crew representatives major productions towards a style or work, in the US selected to speak on behalf of crew. Also they have known as “the continuous day” and in Europe as communicated with the guild throughout the process French hours. providing a copy of the final crew contract. This ap- I am somewhat despondent however, as we have set up proach has kept everything very transparent. how we wish to conduct business in NZ in the guide- lines set out in the Blue Book. These guidelines were The cautionary note being that there is a slow and reviewed last year and are fair and rigorous not just for notable shift to this becoming the norm, when in fact up technicians but also from the point of view of produc- until now the norm in NZ has been to follow the guide- ers. Surely we should consider our own standards to lines set out the Blue Book allowing all crew to have a be worthy of consideration and alternatives as a plan reasonable “tools down” lunch break. If the continuous B. Perhaps a bit of nationalism would do nicely here? day becomes standard practise it will be hard to come There is of course always room for logical and accept- back to our original guidelines. able argument in favour of alternative types of structure. So once again I urge crew, if presented the option of For instance, if child actors form the bulk of a produc- continuous working days to consider whether there is tion, work hours are restricted due to the limited hours reasonable cause to do so and as explained earlier that a child can be on set. This could be a fairly compelling comprehensive negotiation take place before principle and logical reasons to implement a rolling lunch. It is photography begins. Most importantly all crew (this ap- important to identify that the reasoning and argument for plies to all productions) be insistent that your contracts a change in work structure that differs from our own is are issued in advance of the first day of shooting. When honourable and not to appease a production companies we follow the Blue Book we know where we stand. desire to shoot faster to improve profit or “well this is When terms and conditions deviate from the Blue Book how we do it in the US or UK”. it is important to carefully cross reference your contract The expectation from all crew if a production wishes to to ensure what you believe was negotiated and agreed introduce an alternative working day structure, or in fact to does in fact form part of your contact. introduce any major changes to our Blue Book guide- Continuous hours may become an alternative way lines be made as a request rather than as a statement. of working so when the Blue Book is next reviewed, NZTECHO Summer 2018 | 3

recommendations for continuous days will be added their time and energy supporting the work of the Guild. to ensure we have solid boundaries but they will stand You know who you are. Perhaps something for others aside from the standard terms of engagement. Crew to consider in 2019. As the saying goes, “many hands will dictate whether this becomes practise over time. make light work”. So as we wind up the year, there is much to consider So to end, from me to you all, I wish you all the best for as we launch into 2019. the festive season and coming year. Go out there, enjoy Finally, before I sign off for the year, I would like to thank and play safe. that stoic group of members who regularly volunteer

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PRESIDENT’S RAVE Annie Weston is a 25 year - and counting - veteran of the NZ film industry. She is based in Queenstown where she works mainly as Line Producer and Production Manager.

Welcome to your first NZTECHO column as President, Annie Weston

I’ve been freaking about writing this article since I was voted in There is a new aspect ratio driven by phone format - moving foot- as President. Unanimous (thank you) apart from Brett Mills who age shot vertically with a camera on an L plate, or framed 1:1 for knew I’d dread my quarterly writing duties. social media. Our industry, and the workforce in general, is in a state of flux. Clearly this is the result of marketing diversifying from traditional There’s been a lot in the media lately about the rise of the gig broadcast TVC’s and the companies involved adapting to survive. economy. The gig economy “is a free market system in which Dramas too are mixing it up. Post production companies are temporary positions are common and organisations contract with doing production. And offshore companies are part shooting for independent workers for short-term engagements.” up to a month in NZ, primarily on location, to provide a point One report maintains 40% of the US economy wil be a gig of difference. economy by 2020 - one year’s time. There appears from my POV very little difference now between As part of the film industry we’re already killing it in the gig a part offhsore feature film, episodic drama, or high end TVC, economy but the government of any country facing this trend has shooting in NZ primarily for it’s locations. to deal with the issues of training new workers, unfair contracts, No matter what the format we need to treat all of the offshore line encouragement in restraint of trade, the treatment of workers like productions with the same respect - offering up the best available full time staff, workers paying their own tax and workers strug- crew, equipment and locations, regardless of where they’re situ- gling to convince banks and vendors of their credit worthiness. ated. It’s up to those offshore to choose where they want to film Things we’ve all had to deal with at one time or another. Thank- and up to us to make it happen. fully as our film industry is a NZ specific location based industry IMO we are leaders of the gig economy and we have been for our shooting labour cannot easily be outsourced to cheaper many years. Every freelancer is a self employed, self motivated labour overseas. business person entitled to have their own terms and conditions, As more of the rest of the world becomes gig we become more set their rates, choose who they work for, be paid for the hours gig. We’re often hired for smaller more specific contracts as they work, and make a profit - just like all the other players. And to more work is subcontracted out to save money or compete in the that end our rate should be commensurate with the length of the changing market place. I’m sure even the busiest most employed engagement rather than the format of the job. people in our TVC industry have seen this impact on recent jobs. Thankfully we have the SIG to thank for providing us with a set of Clients’ deadlines are squeezed with many TVC’s off to false guidelines from which to start negotiations. starts because they can’t get the product to the location in time. The terms and conditions agreed to in the Blue Book, which is NZ clients are using small one or two crew companies who are driven by the SIG, are the foundation of pan-industry self-regulat- Jack of all trades - from writing scripts through to delivery of a ing collaboration and we should feel very fortunate to have them. final master. Without these historic advantages we’d be struggling like Uber Advertising agencies are trying to do production with freelance drivers are now. To those non-members that reap the advantages directors to save themselves a production company markup. perhaps you could put your hand in your pocket and support us. Production companies are providing the creative and wrangle William Goldman (screenwriter Butch Cassidy, Princess Bride) clients direct to save them paying an agency markup. died recently but fittingly his most famous quote “no one knows It’s not unusual to have many countries involved above the line as anything” is more pertinent than ever as everyone scrambles to all parties out source - a Japanese client, Singapore advertising find where they fit and how they can future proof their careers in agency, French production co, Mexican director. our constantly changing industry. Sometimes offshore prod cos arrive in NZ having used location Overall I think, for an industry of rag-tag misfits at the bottom of file pulls Lifeguardonly, with &no Safety scout 181mm or recce. x 65mm.pdf 1 22/09/17 11:36 AM the world, we’re doing pretty well.

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THE FINE PRINT

Recommendations from the Film Industry Working Group

The Film Industry Working Group (FIWG) was established earlier 4. Screen production Entities: the FIWG has recommended this year with the goal of recommending how the government that the “carve out” from the Employment Relations Act be should restore the right for film production workers to collectively further clarified to only apply to workers who are engaged bargain, in a way that: by a company or person who is primarily engaged in screen (a) allows them to continue working as independent con- productions or which primarily supplies services to another tractors if they so wish; entity primarily involved in screen productions. The idea behind (b) provides certainty to encourage investment in NZ by film this recommendation is that a person who would normally production companies; and be covered by the protections of the Employment Relations (c) maintains competition between businesses offering film Act should not lose such protections because their employer production services to promote a vibrant, strong and decides to take up a contract supplying services to a screen world-leading film industry. production. For example, if a catering company enters into a contract to provide catering to a production, then a chef work- The FIWG released its findings in October of this year. We ing at that catering company should not lose his rights under thought it would be helpful to summarise their recommendations over a couple of articles and explain how they may impact you. the Employment Relations Act; This article looks specifically at the recommendations that relate 5. Principles of engagement: perhaps the most ethical and, to the so-called “carve out” from the Employment Relations Act in my opinion, welcome change is the introduction of four core 2000 which gives film production workers a default status as principles of engagement to apply to every screen industry independent contractors (as opposed to employees). contract as minimum terms that cannot be contracted out of. 2. Default contractors: the FIWG’s first recommendation is to These are: retain the status quo so that film production workers remain (a) Good faith: a general requirement of good faith. Basi- independent contractors by default, unless they are party to cally, screen industry worker and engager must deal a written employment agreement that states they are employ- with each other honestly and fairly and should not do ees (in which case they will be covered by the Employment anything to mislead or deceive one another; Relations Act rather than the default independent contractor (b) Protection from harassment, bullying and discrimination: model). This ability to contract freely and independently, with- although protections against harassment, bullying and out the involvement of NZ’s employment legislation is particu- larly important in the film industry which requires a high level of discrimination already exist in all NZ contracts via the flexibility for several reasons: Human Rights Act 1993 and Health and Safety at Work Act 2015, the FIWG suggests they should be expressly (a) First of all, because the market for screen production is incorporated in all screen production workers contracts; global, in order for NZ to compete as a production des- tination with other nations, the contracts of film produc- (c) Fair and reasonable termination: the engager must act tion workers need to able to be varied and updated in fairly and reasonably when terminating contracts. How- order to remain competitive; ever, this principle will take into account screen industry (b) Secondly, a huge variety of productions are made in NZ norms such as early termination for cause and without – from blockbusters to small self-funded productions. cause; and There is no single type of production, so a one size fits (d) Fair rate of pay: screen production workers must receive all contract is not a realistic approach; a fair rate of pay in relation to their skills and the scale (c) Finally, contracts need to be flexible enough to account of production. for the highly mobile and changing nature of filming The FIWG did not discuss how these broad and general prin- itself. For example, last minute scheduling changes due ciples will be implied into screen production workers contracts to weather and light availability. Again, an employment or how they should be enforced. contract governed by the Employment Relations Act is Most of the changes recommended by the FIWG are not dra- not practical here. matic diversions from current status quo, which is good because 3. Screen Production Work: as the law currently stands, only the attractiveness of NZ as a production destination is somewhat “film production workers” are considered default contractors related to the certainty that overseas production companies have under the Employment Relations Act. This includes those who in our labour laws. In my view, the recommendations serve more work in video game production, but technically not those who as clarifications to the current law, recognising that in order work in television production. The FIWG has recommended to thrive, the NZ Film Industry requires its own employment using the broader term “screen production worker” to capture those working in productions on all screen formats, keeping regime, flexibility and pragmatism while giving its workers basic in flux with changes in technology by recognising that current minimum rights. viewing habits (for example, with the rise of on demand stream- There are several further recommendations that relate to collec- ing) has made all screens equal; tive bargaining and disputes that we will cover in later articles. 6 | NZTECHO Summer 2018

IN MEMORY OF Waka Attewell pays tribute to Geoff Murphy

Geoffrey Peter Murphy 12 OCTOBER 1938 – 3 DECEMBER 2018

On a Geoff Murphy shoot every part of attitude with new world thinking in a everyday is going to be guaranteed a digital world. Like who would’ve thought ‘shit I love this job’ moment. of a simple in-camera glass shot to Charging horses, blowing shit up, car achieve the burning of the king when stunts, more blowing shit up, tracking everyone else was thinking CGI? Hardly vehicles festooned with high speed even computer enhanced in the final cut. cameras, guys in armour on horseback, Geoff was the master. slo-mo and dangerous. Orc’s for Africa! A yellow mini pulls up beside a young And the perfect director, Geoff Murphy, lone female hitch hiker: ‘Get in’ – she with a fag and smile and the next idea doesn’t think that’s a good idea - ‘It’s which would start with the words ‘what alright’, says Gerry, ‘He’s queer and I’m if the…..” It was always outrageous driving’ – this is the Murphy world where and audacious, with a let’s give it a go blokes were blokes and sheila’s had a attitude… and then we’d blow some lot to say and authority was shunned more shit up because we could. because they got in the way of getting It was his 60th birthday (2nd unit LOTR) stuff done and having fun. PC and and I hadn’t seen him since LA a few Rules? What were those? months before… there he was shambling would became the across the Twizel tundra, running his first local film to gain blockbuster status hand through his hair, and my heart as it spoke directly to the kiwi zeitgeist, swelled when he said ‘good to see you, I with edgy flawed characters that were heard you’d be joining us’ – then I swear stamped out from of our own rawness. we finished the last conversation that A road movie, yet a journey that could we hadn’t quite finished the last time we only end in a no exit road, and we meet. It was like we’d always have this devotees to our pure Nu Zilandness ongoing conversation that we’d pick up were more than happy with the quest’s every few years. We always did politics inevitable doomed destination. It summed first and then established who the ‘bastards’ were that we might be fighting, up our K-1- double U– one to a tee. Land then we’d list the immediate tasks. Big locked on an island with nowhere to go horse action, big stunt action, Orcs but, hell, it’s not the destination, it’s the all over the place (or it may’ve been), journey attitude. kids running over the hill, hanging the I first came across the subversive Geoff miniature, pacing out the special effects, Murphy film world in the mid 70’s on rigging the motion control… always Percy the Policeman after the Blerta bus thought through and well planned. I pulled up and kids and wives and hippies needed to have his approval, I would from the Waimarama commune spilled seek this out, and I wanted to make forth into our Pacific Films lives. it work for Geoff and this was so for I had the job of protecting the relatively everyone on the crew. new camera equipment from the falling Whatever was planned still had a string sets, the prat falls, the odd bang of and rubber band methodology, our ‘son’ gun powder and the hastily planned had returned and the flash world of and executed car stunts. The shoot Hollywood hadn’t dulled that handmade also achieved some pretty spectacular craft thinking of Geoff’s… analogue rope action, using all the main actors, NZTECHO Summer 2018 | 7 8 | NZTECHO Summer 2018

meticulously planned over a two floor wrong with modern society and hence drop and every stunt pre-tested, usually the bus and the travel, where everyone by Geoff himself. Health and safety? travelled together and lived together, Heck no! worked and played together. It was Geoff at the helm doing every job anarchic, inclusive, opinionated and there was to be done. Writer, director, collaborative, but all of the communal set builder, special effects… Suffice ways that Geoff worked was offset by to say Percy (the Policeman) was a being continuously surrounded with kids. loveable idiot and Burglar Bill (Bruno Before we’d met Geoff, people around Lawrence) was naughty, very naughty had already been speaking indeed; a commissioned kid’s show that of the ‘Magic Hammer’, a film Geoff was completed and delivered, as per did when he was a school teacher, and contract, but never went to air because it the pupils of that time will still say that was deemed um err, well, a bit naughty. making that movie with their teacher was At its heart it was a kids show about still the best year of their lives. ‘US’ and ‘THEM’. The representation of After Goodbye Pork Pie came UTU. authority didn’t get the sort of run that Ambitious and audacious, a big idea the programmers at TV felt was fair, and I done big, which was finally returned to guess the Muldoon Government (looming the director’s cut Utu-redux decades large over the whole country) might have later and then, to follow that up, a high put the TV management of the time in a concept movie The Quiet Earth, a big position of ‘hell what shit will rain on us movie conceived and done here, in Nu from the PM if we screen this?’ Zeeland, with production value and great The shock of the new way of working ideas… perfect. Geoff was saying “See it with the all-in approach to doing can be done”. everything. This was the 70’s and work But what did success look like in the and family were separate, but Geoff world of Geoffrey Murphy? Success was thought that this state was what was never losing who you were or selling out NZTECHO Summer 2018 | 9

Below: Directing . Yes, that is . ‘to the man’, telling the story from the position of truth and integrity, being loyal. Perhaps, in summing up his professional life, you could say focused, ambitious, opinionated and determined – beholden to no one, and always suitably messy. Of course, this self-determined independent characteristic was expected in the LA scene but, at the end of the day, not tolerated. The absolute truth of the matter was that Geoff was never going to kowtow to neurotic Hollywood executives anyway. He starting from nothing in the local film scene by forging his own pathway and year marriage to Pat dissolved after a built an arts movie making commune in long affair with Diane, who took him back. Hawkes Bay, which, in the beginning, But he also had previously abandoned created strain over putting food on the both women to pursue and marry Merata table for an ever-growing family. Yet self- Mita, with whom he has a son. And, belief, and determined focus, saw Geoff from his memoir: ‘the stress of directing becoming one New Zealand’s top movie overseas and the constant separation do directors within a decade. strain relationships’. It would fair to say he ran out of road Geoff could’ve been an engineer, or after The Quiet Earth in New Zealand a historian, or just settled on being a and Hollywood seemed like the best musician, but he chose the hard road to option. Young Guns2 and Under Seige2 an almost non-existent movie business both functioned well in the box office, and created a path that only a pioneer but the process of arguing with the could follow. producers didn’t make Geoff a perfect fit for their world or them for his, though If you wanted to name the justly if part of the exercise had been proof considered New Zealand movie classics he could make it in Hollywood then he then Goodbye Pork Pie, Utu and The certainly had made it. Quiet Earth would be my picks and, if my opinion counts, then the re-cut of UTU – Micky Rourke would drop around to redux is still his best movie. This list alone the LA house, not because this is what represents the career of a great man, celebrities do but because they were yet 6 kids, 20 grandkids and 3 great friends. Geoff subverted the Hollywood way by being who he was. It was about grandkids also reads like a great life. the movies, the story and the work, not It’s been a bloody great journey, Geoff. the bullshit. A man who could name drop You cut a path that no one else could see some of the big names of Hollywood and through the undergrowth so we could the rock world. Helen Mirren and Mick follow and discover the possibilities Jagger. But he didn’t play that game. But for ourselves. his proud kids might let slip over a beer You expected the best from us by leading or you might find out in passing that he’d by example, you pushed us into places just been hanging out with Mick Jagger we didn’t think we could be by making us on his private Island, as Mick had invited believe in ourselves. The bus is leaving the family in for the week. for the next show. Thanks Geoffrey Peter Even Geoff has described his personal Murphy. We couldn’t have got here life as occasionally tumultuous. His 22- without you. 10 | NZTECHO Summer 2018

WIDE ANGLE Spotlight on the South

Contributors Annie Weston, Nic MacAllan, KJ Jennings and Kahli Scott look at what makes the Otago and Southland region so special and dispel some myths while they’re at it.

Above: Queenstown Hill. The Real X-Factor Of Our our region is adapting and embracing this Region And Why You Should change. We don’t have a crystal ball, but from all accounts the halcyon days of peak (Re)Consider Shooting Here seasons filled with back-to-back large inter- It’s no secret that our region is home to national TVCs appears to be on the diverse and beautiful locations, and has way out. The upside is that there is an hosted thousands of productions including increase in new forms of content being TVCs, high-profile feature films and TV produced — video on demand, branded series. This has resulted in what we consider content and more. the real X-factor of the area: world-class We’re looking to adapt our offering and crew and equipment based in this globally capitalize on this. We have crew who have remote location. You can search the world recognized this change and are pursuing over—it’s a truly unique offering. the opportunities created by this shift. The screen industry is in a state of flux and While we are still poised to service the NZTECHO Summer 2018 | 11

international TVC market as well as ever, scorching Central Otago summer’s day, Above: Wanted. it’s now more likely there will be locally- they are battle-hardened and deliver the based crew available for your next drama or goods. These skills and attitudes are now feature film throughout the entire year. being shared with a new generation of crew, The crew here are locals with a global mind- and we think the future’s looking exciting. set. They’ve worked with just about every The globally remote nature of our location A-list creative team in the screen industry. is offset by the large range of equipment They’ve built their toolkit by learning from based here. The cutting-edge gear is the cream of the creative crop — from fit for purpose and proven in our Auckland and Wellington to Hollywood unique environment. and Bollywood and everywhere in-between. We’re often told by visiting producers, Our crew also thrive in our demanding directors and HODs that they’re aston- environments and in extreme conditions. ished by the quality and quantity of what’s From working through blizzards to a available down here. A vast array of camera 12 | NZTECHO Summer 2018

Myth-Busting Wherever you’re based, we want to reinforce to all Producers, Directors, HODs and crew that our local industry has been built on servicing out-of-town productions—you have been, and continue to be, most welcome here. We encourage you to continue to bring your projects and preferred people as you choose. What we want to ensure is that the New Zealand industry continues to flourish by providing the best value to our clients. This isn’t a Queenstown vs. Wellington vs. Auckland thing. Crewing locally when possible makes $ense, wherever you go. MYTH #1 - Queenstown is an expensive place to shoot TRUTH: Queenstown can deliver a premium product at competi- Above: Legend of S 2. tive costs. IF you utilize as much local crew and infrastructure as possible, you will find outstanding production values at a competi- tive cost. It breaks down like this: Local Crew Rate = their rate. Travelling Crew Rate = their rate + travel costs (flights, ferries, vehi- cles, drivers, etc.) + accommodation + Per Diems. The notion that we are costly seems to sometimes be a self-fulfilling prophecy of productions that chose to travel crew when we have qualified local crew and equipment available. MYTH #2 – Accommodation is in high demand in Queenstown TRUTH: Accommodation is in high demand all around New Zea- land. Queenstown has recently opened numerous new hotels and ac- commodation facilities, and there are also multiple accommodation projects under construction. In recent years, we’re also finding crews utilizing the flood of Airbnb options now on the market. There is often more availability in Queenstown than elsewhere in NZ - have a look. MYTH #3: There is only TVC crew in Queenstown TRUTH: There is top-tier crew in Queenstown, full stop. Many of our crew have an extensive list of feature film credits to their name. Alongside that, the international TVC market demands the highest level of production values so our crews continue to build on their skill base by working with the best the world has to offer. Ask any- one who has shot a feature here and used them. MYTH #4: It’s difficult to find available crew in peak summer or winter TRUTH: It may have been in the past, but the game has changed. There isn’t a defined peak TVC season like the old days—we have crew ready to rip, year round. NZTECHO Summer 2018 | 13

packages, lenses, purpose-built grip gear, We operate as a Trust, funded by contribut- Above: Mission Impossible. Photo Courtesy of Paramount Pictures. helicopter mounts and more ensure you get ing councils and other organisations, as fol- your shot with the highest production value lows: Queenstown Lakes District Council, in the world, period. Top-notch catering Venture Southland, Southern Institute of and commando unit services keep you well- Technology, City Council, Cen- fuelled and ready for the elements. We’re tral Otago District Council, Waitaki District also home to a number of certified drone/ Council and Dunedin City Council. We’re UAV operators with CAA 102 certification, fortunate to have great relationships with which is now required at many locations. these councils and film-friendly Mayors, Established art departments, make-up art- which helps to streamline the permitting ists, talent agents… the list goes on. Our ex- process and facilitate individual produc- perienced production departments ensure tions where necessary. you get what you need, where you need it, The film office is also part of the Regional when you need it. Film Offices of New Zealand (RFONZ), See for yourself- check out the Industry which takes a collaborative approach to Directory on our new website: national and regional issues and opportuni- www.filmotagosouthland.com ties, and advocates for the wider industry. We also work closely with the NZFC in try- Who Are Film Otago ing to attract productions to New Zealand. Southland? A successful initiative that helps nourish As the regional film office, Film Otago the New Zealand industry and encourage Southland (FOS) acts as a point of coor- production to the region is our Writers in dination for filming activity within the Residence Programme. Our first ever Writer region—ensuring access, striving to maxim- in Residence was Jackie Van Beek with THE ise the economic benefits and opportunities INLAND ROAD (look at her now!) Since for local film professionals, and raising the then, we’ve had a wide variety of writers region’s profile as a world-class location in who have active projects in development which to do business. with an Otago or Southland connection, and 14 | NZTECHO Summer 2018

Above: Paradise Trust. we look forward to the next one with guardians, councils and landowners shooting here. to cultivate a film-friendly environment. We are constantly working on maintain- A Focus On Location Access ing and increasing access in areas that are A key part of what we do is enabling access under increased pressure from a variety to our world-class locations – they’re of no of user groups. Upcoming draft National use if we can’t access them. Our local Loca- Park Management Plans for Mt. Cook and tions Scouts are experts in finding your per- Westland will further challenge access with fect location and getting your permits in the proposed restrictions to aircraft and drones, short (and getting shorter) lead times re- and we will be submitting on these plans to quired by the industry—even in UNESCO try to continue enabling access for responsi- World Heritage Sites. Film Otago South- ble users from across New Zealand. land and our local industry have worked Our quarterly Location Access Round Table hard to develop fantastic relationships meetings are an opportunity for the indus-

CREW Experienced and highly regarded DoPs, camera operators and sound recordists specialisting in broadcast and commerical production.

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Left: Legend of S 2.

try and relevant agencies to provide input not following the Film Otago Southland and to connect with each other - you’re Instagram account, you’re missing out). She invited, get involved. is able to offer valuable insight into the de- veloping world of the screen industry, with Meet The Team a background working for international KJ Jennings is the Executive Manager of events like Cannes Lions and the Interna- FOS, and is a certified film commissioner tional Broadcasting Convention (IBC) (CFC) who’s lived in Queenstown for the Antony Deaker is a new addition to the mix last thirty years. His focus is on relationship — he manages Film Dunedin and is there building to: enable location access, promote to help with Dunedin-specific enquiries. We the region and our unique capabilities, actively collaborate under the FOS umbrella. and raise the positive profile of our local industry. This positive profile is crucial for The Big Picture when the proverbial hits the fan and we The New Zealand film industry has earned need political or community support to find an enviable global reputation for locations, an 11th hour solution. KJ is also Chairman ingenuity, and talent, we are proud of what of the Association of Film Commission- our region contributes to such an awesome ers International (AFCI). This gives him a overall offering. Let’s ensure we continue to unique opportunity to network, as well as work together to put our best foot forward ensure that we are up to speed with the best as we navigate the uncertain yet exciting film offices in the world. This is particularly future of our changing screen industry. useful when it comes to lobbying for access, Left: Kahli Scott and Kj Jennings. as we’re able to put the most convincing case forward by utilizing successful strate- gies that we learn from other offices. Kahli Scott is the Film Office Coordinator, who helps with production enquiries, web- site and image library management, office operations, communications and market- ing, and community engagement (if you’re 16 | NZTECHO Summer 2018

IN FOCUS

Our man in Otaki has been reading John Reid’s history of John O’Shea and Pacific Films. Here’s his take. Whatever Below: Te Rua camera crew at Palliser Bay, 1990. Waka Attewell (DoP), John Mahaffie (camera operator), James Cowley (camera assistant) and Gerry it takes Vasbenter (clapper loader)

I have an image from John O’Shea’s himself. And yet again John Reid funeral. It was a big event at the Em- has done the heavy lifting in the bassy Picture Theatre. This memory seven year research and writing of is not of the great witty and erudite this brilliant book ‘Whatever it takes’ speeches. It’s a picture of John Reid – Pacific Films 1948 – 2000 - the life at the back of the casket, when the and work of John O’Shea. task of the long carry-out to the The book might’ve been called ‘how street and the waiting hearse. He we became who we are as a nation’. was at the back, holding on like a Through the local cinema O’Shea man would hold a caber that he was suggested a New Zealand that wasn’t about to toss, his shoulders tak- quite there yet, but by holding the ing the whole weight. At various mirror up Broken Barrier became, times as the manoeuvring occurred to the surprise of the distributors, around doorways he would’ve been a box-office hit. They were queued taking on all the heavy lifting by around the block. NZTECHO Summer 2018 | 17

New Zealand version of ‘From Easy Riders to Raging Bulls’ quality. At the core of this story is what John O’Shea had told us, as he laid out our tasks in the Pacific Films tea room when he would discuss “What it was to become a Pakeha”. Those early days of TV with the NZBC deals to make commissioned programs that went beyond the thinking of the day. We planned documentaries that might chal- lenge the politic or open a can of worms. How the next production might be scuttled by the vagaries of the next commissioning editor at the NZBC or an experimental series like Shoreline that had its first Above: John Reid and John O’Shea I was there from the 70’s onwards season clumped together and was at Pacific Films in 1975. and I thought I knew this history deliberately scheduled to screen Below right: Producer John O’Shea but John O’Shea was about living at an unsuitable time slot in early busy at work in his on-set production office, Berlin 1990. in the future and where Pacific was evening in the height of summer so heading, not where it had been. it was bound to fail. Or the way the So a lot of what I have read is new Tangatawhenua series found Pacific and revealing. Reid’s book catches Films and Barry Barclay, and as they this forward momentum brilliantly, say: the rest is history. the detail is exquisite. A business, 1948 – 2018. That’s 70 years. a family and a deal here and a Essentially the beginning was movie there. It’s a book about a two men catching the train with very busy life. It’s captured a sort of limited funds (200 pounds) from 18 | NZTECHO Summer 2018

Right: At 2000 feet, filming Runaway. In the background, Ron Skully (sound), Michael Seresin, Barry Crump (boom swinger for the day) and Tony Williams watch John O’Shea lend a hand to a soaked Deidre McCarron. Jonathan Dennis Collection.

Wellington to Mahia to make formed the way this country looked Broken Barrier. at itself. They gather a few locals around If you walked from the Majestic them and quickly coached them movie theatre in Willis street to the into how to push the dolly and hold Embassy you walk past 24,700 cin- the reflector – Roger Mirams and ema seats. New Zealand was movie the less experienced O’Shea wres- mad and had the highest number of tling with the culture and seats per capita than anywhere else the weather. in the world. The book captures the real passion Seventy years doesn’t feel very long of their work and gives us a snap and in reading this book you mar- shot of the post-world-war times of vel and appreciate how far we have the entrenched racism that in- come as a film and TV industry. NZTECHO Summer 2018 | 19

In the second half of the book my And he was wary the of bureaucrat life catches up with the story when being in the funding body that was I joined Pacific Films fresh out of being created. college in 1972. The creation of the NZFC, and then I didn’t have an appreciation of the how later O’Shea was moved to one history and, decades later, when it side. Rather than fight them on comes to Te Rua (the New Zealand the home turf, he opened a Pacific shoot) I have more than a bit of Films office in Europe. O’Shea skin in the game. But in reading the hated being called a veteran or a details I was still discovering stuff I legend, as it suggested a man that thought I knew. John Reid has done was ready to be put out to pasture. a fantastic job of researching all the In the 70’s Pacific Films is winning moving parts and making the read a Feltex awards with documentaries rollicking yarn… it’s a page turner. made by Tony Williams. At the core it’s about the inside William’s work proved to be very workings of a man who was not popular, “However, it negatively only a deal maker but a profound impacted with the new order at the thinker. And you can read how the NZBC” - “It was one thing to disa- moving parts of the deal are some- gree about a programme, but quite times at odds with the movie or another to go ahead anyway and the idea. produce it in such a way that clearly Thankfully O’Shea was a hoarder outshone the efforts of their ad- and all the production records and versary – especially if they wanted private correspondence were there further funding”. for Reid to find in archives. This is a book about how we got Brilliant. here, the divide of town, country Reid captures that moment through and city, Māori and Pakeha. A na- O’Shea’s eyes of the late 70’s when tion in growth. John O’Shea wres- the lawyers and merchant bankers tling with the authorities, his own entered the film business as the new staff and ideas and directions in a producers and the deal drove from constantly changing landscape of the front of the bus. this growing and evolving movie O’Shea was not so in agreement and TV business. with this focus on the wealth It’s an epic tale. gathering part of this new way. Great work John Reid.

Left: Roger Mirams and John O’Shea filming waist deep in water in Tahiti in 1953, Pacific Films Stills Collection, Ngā Taonga Sound and Vision 20 | NZTECHO Summer 2018

TECHOSPHERE We represent you! Introducing your Guild representatives. They represent you on national and regional committees. All these roles call for voluntary time and commitment and are given by your fellow Guild members to ensure we not only have a Guild but we work in unity to uphold the terms and conditions we work to ensuring we have a professional and structured industry.

Sioux Macdonald (nee Ferguson) Brendon Durey Vice president SIGANZ | Auckland branch committee | national executive Auckland branch committee (Treasurer) | national executive Sioux began her career in the film Brendon began in the NZ film industry industry at the tender age of 16 as a in 1986 as a stunt double on facilities assistant. The following eight The Navigator. He now manages years found Sioux working throughout Film Effects, Auckland’s largest the North Island for numerous post mechanical physical effects company. and production facilities before buying He has worked in TV, film, large-scale crew booking services company Filmcrews. Two decades live shows and events over the years, mainly in NZ but also on, Sioux still runs Filmcrews and enjoys watching her in many other countries. Brendon joined the Guild early in crew progress their careers, she is renowned for orientat- his career and in recent years has served on the executive ing new crew in the industry. Sioux has been a member of in order to contribute to a fair and safe working environ- the Techos’ Guild for 19 years. She was closely involved in ment in the industry and to also help give a voice to film the 2017 update of The Blue Book with a specific focus industry workers. on crew safety and on-set working conditions, and in the past year has been representing the Screen Industry Guild Ben Vandepoel as an integral part of the Government’s Film Industry Work- Auckland branch committee ing Group along with other industry leaders. Ben is a freelance sound recordist based in Auckland. He joined the Guild Nick Treacy primarily because of its work in the past Auckland branch committee (current chair) | national executive and also for the future creation proto- Nick has over 20 + years’ experience cols and guidelines by which individual as a freelancer in sound. Working on contractors can structure their work. live acts in stadiums and pubs early in He recognised that without this framework, the voices of his career proved to be a great training individuals and small groups would get lost in the world of ground for the rough and tumble of the freelance. Also the power of this larger group could help film and television industry. Currently influence decisions, or at least give voice to grievances, on the sound kit has been hung up whilst Nick concentrates a Government level that could affect us all. It is also a way on his camera rental business, which has grown from a to meet fellow workers, share stories, organise events and part time to full time endeavour. Nick joined the Techos’ learn from others experience beyond the on-set environ- Guild as he saw it as a positive way to bring together a ment. On a purely pragmatic level the Guild offers bloody cohesive voice in the screen production sector and wanted good discounts too. to play a part in building a strong, healthy and safe working environment for crew. NZTECHO Summer 2018 | 21

Sean O’Neill Mareena King Auckland branch committee Auckland branch committee (current branch secretary) Sean has worked in the NZ film Mareena is an avid fan of Danish Industry for over 30 years and in that cinema and is a relative newcomer to time has seen many changes. As a new the NZ Film Industry with 10 years’ member of the executive, he is looking experience in Production. Working as a forward to contributing to a team of Production Manager in the ever vibrant like-minded professionals with a goal of and changing world of commercials making the industry a safe, sustainable and equitable and drama she relishes the fast paced dynamic industry. environment for all parties involved. He believes that the She is very pleased and proud to have the opportunity to open forum communication, participation and involvement be more involved with the film community through her of the Guild between all the groups associated with the appointment as Auckland Branch Secretary and is looking industry (as witnessed recently with the incentive initiative) forward to having a hand in securing a brighter, safer future indicates an extremely positive step forward and hopefully for all. She believes - because we work in an industry that the beginning of a new era. creates magic for the soul and symphonies for the heart, we have a responsibility to do the best job we can for the Rewa Harre people who make it all happen. Auckland branch committee | national executive Rewa left school 33 years ago with a Christian Gower passion to become a cameraman Auckland branch committee working in the film industry. His particu- Christian is one of New Zealand’s lar area of interest and fascination was leading Digital Imaging Technicians and the art and mechanics of using a a member of the Guild since 2013. In camera and lighting to help tell stories. 2016 he launched Crewlist, the Since starting that journey, Rewa has worked on many country’s largest networking app for interesting projects with many fantastic people. Rewa screen industry professionals. Christian points out that the film industry is a collaborative process, sees the Guild as a driving force behind making our therefore he believes strongly that we have and support a industry a world leader in creativity, innovation, equity, collective industry body such as the Screen Industry Guild. safety, transparency and environmentalism. He looks As a longstanding technician, Rewa respectfully recog- forward to helping the Guild connect with tomorrow’s nises that the guild was established and moved forward by filmmakers to lead our industry into the future a number of dedicated film and television technicians many years ago. There hard work and dedication to create a Richard Bluck professional and solid industry lead to the establishment of Past-president SIGANZ | national executive | Wellington The Blue Book, a document which is fundamental to the Richard is a cinematographer based in film industry framework and serves as the base for all those Wellington. He has been in the film working environment. industry for 35 years as a cinematogra- pher, camera/Steadicam operator, Steve King focus puller, director and producer. He Auckland branch committee is past-president of the SIGANZ and Steve is a producer and director past- president of the New Zealand Cinematographers predominantly in the corporate media Society. Richard’s background has seen him shoot numer- domain, but is also managing director ous features and television productions with a specialisa- of Prompt Service, NZ’s number 1 tion in 3D. His involvement with the SIGANZ stems from autocue crew. He has been a Techos’ his belief that industry members need to have a collective Guild member since starting as voice to promote fair and equitable treatment of all mem- freelancer in the video production industry over 25 years bers, also to have a forum to interact and develop ideas to ago. The Guild has acted not only as a source of profes- make the industry more sustainable sional support and advice but also fellowship. Steve values and enjoys being connected to the rest of his peers and associates through more than just the current job he is working on. 22 | NZTECHO Summer 2018

Ken Saville Belindalee Hope Wellington branch committee Wellington branch committee Ken is freelance location sound opera- Belindalee works as a Line Producer tor in Wellington. Ken has been in the and Production Manager. She has film industry as a freelancer for 36 been in the industry since the early years. Ken’s support of good safe nineties and has worked on a broad industry work practice within the film range of projects. These days she’s industry stems back to his attendance most passionate about working with of the first Film Academy meeting in the early 80s out of New Zealand filmmakers and developing the talent in our which the Techos’ Guild was created. Voted chairman of the industry. Belindalee has been a member of the Guild since Wellington branch in 1999, Ken stayed in this position until 2003. She sees the Blue Book and the ScreenSafe as his resignation in 2007. He additionally remained on the providing a fundamental basis that underpins our entire national executive until 2013. Often voted as crew repre- industry. She says if all the people who invoice according sentative, Ken stresses the Guild’s importance in upholding, to blue book terms, those working on TVCs, TV and films, representing and supporting the rights of all crew in the film joined the Screen Industry Guild that would be nearly industry. He stresses the importance that to survive, the everyone working in the industry. Over the years Belindalee Guild needs the help and support from all its members. has seen the Guild play a crucial role for peer support, networking, be a lifeline in times of need and be an Sally Cunningham important voice on industry issues that has effected real Wellington branch committee | national executive change. She sees being a member of the Guild as neces- Sally has been a part of the film and sary step towards future proofing our industry, as it television industry for 13 years. She provides a cohesive vehicle to move with changing times, graduated from the NZ Film and TV so we can remain a strong and vital industry. School in 2005 and moved into working mainly in Production. She now works as Richard Lander a Production Coordinator and Assistant Wellington branch committee | current branch secretary Production Coordinator. She joined the guild in 2006 as a Richard Lander has been in the way of meeting people and networking. Having been a part industry since the late 1970’s, scary of the guild since the early days of her career she can see - spooky to him. His background is how important it is for those in the industry to be educated that of a Camera person. Avalon about what the guild does. With our new name reflecting Studios has always been his home, our inclusivity, she encourages all members to talk to crew, he’s part of the furniture. Since 2012 especially in departments that are underrepresented, to get when Avalon became a independent Company he’s involved in the guild and be part of shaping our industry. been the Studio & Facilities Manager. He enjoys seeing Adrian (Wookie) Hebron Producers projects coming to life. He believes strongly in Wellington branch committee | current chair the Guilds ethos, and the advocacy it provides for those Adrian (aka Wookie) has been a who work in our Industry. member of the NZ Film Industry since 1986 and works as a Gaffer. A Guild Corey Le Vaillant member since 1990 Wookie believes Wellington branch committee that if we are to take advantage of what Corey has been freelancing in the the Guild has to offer then we must put Wellington region for the last five years, something back into it even if it is just being a paid up working in the Production and AD member. This should be everyone who works in the industry. departments on a wide range of Wookie says we are very fortunate in our industry to have projects, from low to high budgets and the conditions that the Guild has for us. Few other self- pro-bono work. Alongside his passion employed industries have anything approaching what we for film and television, Corey has a background in educa- have. Over the past couple of years Wookie has been on the tion and enjoys introducing and promoting the work of the steering committee for Screensafe and is very proud of what Guild to crew members: getting them up to speed on what it is accomplishing and that the Guild is being proactive and the Guild is for, and the benefits it holds for our crew leading the way regarding our Health and Safety. community in representation and support. NZTECHO Summer 2018 | 23

Annie Weston Nic MacAllan President | National Executive | Queenstown Queenstown branch committee | branch secretary Annie started working in the film As owner of film industry oriented industry in 1990 as a Production vehicle rental company Direct Rentals, Assistant in Wellington. In 1997 she and partner of an Art Director Nic moved to Queenstown where she’s spent many years on the peripheral of lived ever since, working mainly as a the film industry. In 20108 she joined Production Manager and freelance Line the industry force as a freelancer in Producer on international TVC’s. Currently she’s pursuing production and art department. Nic strongly believes it is in work as a Line Producer on feature films and writing the best interest of all those in the screen industry to screenplays in her free time. She has been a member of collectively support the Guld and ensure a safe crew the Guild for over 25 years and sees the Blue Book as a environment. A strong crew will provide a platform for the production bible - ‘without these industry guidelines we industry to grow which in turn will benefit everyone. would have nothing with which to inform overseas productions and it would be open slather’. Jo Bollinger Thomas (Thom) Watson Queenstown branch committee Queenstown branch committee Jo is an electrician who started doing Thomas is a technician based in lighting in the early nineties in Queens- Queenstown. He has been working on town. From the West Coast, he has TVCs and films since 1999, joining the worked mainly in Te Wai Pounamu Guild soon after falling into the indus- apart from a couple of years earlier on try. Involved in stabilised remote heads in Tamaki Makaurau. He is a member of predominantly with time spent in other the Guild because without it he says, “we’re screwed”. To tech areas. His interest in the Screen Guild stems from the ensure he’s not surreptitiously voted president, he turns up belief that there needs to be a collective body representing to as many meetings as possible. individuals working in the industry. Pip Gillings John Allan Queenstown branch committee Queenstown branch committee | executive committee Pip has worked in the NZ screen indus- Johns been working as an Art Director try for almost 30 years, primarily in the since the 90s in Australia and New TVC world. Zealand. He also has a hire business in Initially Pip worked in Wellington, then Queenstown supplying vehicles and Auckland and 13 years ago moved to equipment to the industry. The work Queenstown and this is where she has place conditions that we enjoy and based herself to work as a Production Manager and Line many take for granted is one of the reasons for his involve- Producer but works all over NZ. Over the past five years ment in the guild. Pip has primarily worked on international feature films, TV series and line production work and loves living in Queens- Wayne Allen town. She has seen an enormous amount of change in her Queenstown branch committee | current chair time in the industry and is hoping to encourage more di- Wayne started in the outdoor adventure verse work to New Zealand so we can collectively avoid the industry in the late 80s and has been in ‘feast or famine’ cycles within the industry. Pip is also keen the Queenstown film business for 15 to see changes in awareness to more sustainable sets. plus years as a safety officer. He oper- ates Southern Safety Film and Events, managing safety on TVC’s , features and large adventure events in the South Island. He sees the Guild in association with ScreenSafe, working together to provide a clear understanding of requirements for the filming community in its projects. The Guild can provide the framework for unity and support for PCBU’s in the industry. 24 | NZTECHO Summer 2018

REGIONAL WRAP

Take one – Auckland here in New Zealand over our summer. We have our fin- gers crossed that these will run into series that will want Another mammoth year has almost finished for the Screen to come back and film here longer term. Auckland Film Industry Guild. One where we have had our voices heard Studios has been fully booked recently, and the Kumeu around several tables. We have enjoyed our opportunity Film Studios have enjoyed the last few months working to meet with the new head of the NZ Film Commission to full capacity on it’s large Disney production, and in the several times, and in particular our part on the Film new year Avatar will be taking over these studios. This Industry Working Group set up by the Minister of Employ- has highlighted the fact that Auckland is still in desperate ment Relations, where we along with other industry group need for further infrastructure, and could do with another leaders were called upon to come up with solutions and similar sized facility as Kumeu when the industry is hot. possible structure that will allow freelance technicians to A new working group has been set up with the help and remain working as sole traders or contractors, and not be support of ATEED to investigate the possibilities of this forced to become ‘employees’ on short, medium or long becoming a reality within the city limits. It is not something term projects, which we see as a win not only for techni- that will be fixed overnight, and considerable work and cians, but also for production companies and producers. investment would need to take place before another fully These recommendations have yet to be put on the table functioning studio complex would be up and running. The in front of parliament for them to either accept or not, so Screen Industry Guild will have several people working we are still a way off the finish line, but in the interim the with this group, and will be engaging the expertise of sev- Government has assured us that we are to continue the eral technicians with experience working at international status quo in terms of crew working under their current studio facilities along the way. We look forward to seeing status (whatever that may be). For some technicians, you how this will progress over the next 12 months. might still be offered ‘employment contracts’, where you With the work flow being so healthy, it’s important that you mutually accept to act as an ‘employee’ and enjoy the know who your crew representative is on each and every perks that this offers, such as holiday pay and Kiwi Saver. job, and that if you are unhappy, feel unsafe, or are feeling The biggest change that the group have recommended that something is not quite right in regards to the condi- is the ability for all craft groups to be able to ‘collectively tions you are working under, you have someone who you bargain’ at the outset of negotiations in regards to work- can alert these issues to in a prompt and efficient manner. ing conditions, workplace bullying, hours worked etc. It is also important that you make time for yourself between New Zealand is currently enjoying one of the busiest jobs to recharge your own batteries and spend time with- periods it’s experienced in several years, with freelance out the constant stress of work. Get your work/life balance crew available to work at almost nil. There doesn’t seem back into check from time to time and enjoy the little things to be any sign of it slowing down in the next six months that working so hard has enabled you to do. either, so once again, I would encourage any person who Have a safe and happy holiday season. is a head of department, or someone who has the ability to have someone shadow them on set or in production, Sioux Macdonald, Guild vice president and that you do so. We have been unable to crew several jobs executive committee member in the camera, grip and lighting departments because the new crew coming through just haven’t had enough experi- ence on set to know what they are doing unsupervised. Although it can be a pain when these crew are calling you up in quiet times, the quiet times are a great chance We appreciate to meet them, show them what is expected of them, and even get them to shadow you on set for a half day here the support of: and there. Some productions will be more than happy to offer some form of payment in way of lunch or ‘internship’ with the knowledge that you are training new crew under you. Give it a try, and speak to your production managers and producers when you next get booked on a job. Pilot season is upon us again, so with that said, there are a few exciting new projects that have decided to shoot NZTECHO Summer 2018 | 25

Take two – Wellington What a roller coaster of a year. We started 2018 with If you’re in art department, greens or construction, then a hiss and a roar, but as soon as Mortal Engines had chances are you’re already on Avatar or about to be. It’ll shuffled off this mortal coil – at least into the realms of be a long and tough gig, but it sure is going to take a post-production – then we hit a slump of all too familiar chunk out a few peoples mortgages and student loans. duration. So we head into 2019 feeling pretty confident that it’ll be But, by mid-winter, suddenly we were looking like a viable a sustainable year in Wellington. After two or three years place to be a film technician again. Possibly because half of more downs than ups, it’s very welcome. of our people were up in Auckland, rolling in Mulan and And on that note... thank you to everyone who has been such like. In fact, the weekly shrieks for techs from up around. All the friendly faces, the cheerful text messages north were almost comical. That old myth of ‘Auckland and the crafty beers at the end of the days. make the TV and Wellington makes the movies’ has been well and truly put to bed these last few years. As always, this is still the best little city in the best little country to live in. I figure Wellington will always do what it Out at Avalon – looking like a better facility every day – a takes to keep the cameras rolling. couple of modestly budgeted New Zealand funded fea- tures shot more or less back to back, which kept a few of Merry Christmas, and a Brilliant New Year. us off the streets for a few months at least. Graeme Tuckett, Guild member

Take three – Queenstown It’s been a quiet few months in this region, and many local This region has resourcing capability that can cater well crew are feeling the loss caused by a decline in the num- for productions wanting to shoot here: ber of TVC’s that we have hosted in the past… • Experienced crew across all departments here I’ll pause my wrap article to offer sincere thanks to • Comprehensive range of equipment all producers that relentlessly pitch-pitch-pitch to get the • Comprehensive range of truly outstanding locations jobs here. Without your perseverance this industry would within workable distance be less. • Excellent support from local Film Office The presence of Mulan and Letter For The King have been welcomed by all crew that joined those productions, • Generally great weather! and many more (I am thinking the number of ancillary • Wide range of accommodation (Contrary to myth services that are grateful to these productions). So now is that it is hard to find accommodation in Queenstown a good time to bust the myth that Queenstown crew will I have just booked a largeish crew in for a period be unavailable for anything other than TVC’s. covering the notorious Chines New Year), and other Crew here welcome all productions to the area, and there production services. is certainly no resentment supporting or being supported Really when re-read the above, I conclude that this region by non-local crew. But at so many levels it makes so is film-making utopia! much sense to opt for local crew: $$ sense in not pay- Here is the silver lining: with little on the books until later ing accom, travel, & living allowance expenses; inherent in January maybe we will get to have a summer holiday in knowledge about where to get stuff; experience in work- our own backyard. We will be out there on the lake or the ing in the local environs etc etc. trails, or the sun-decks. China/NZ Co-Pro Dynasty Warrior is a good case study. And any production arriving during this period will find a The NZ contingent was mostly crewed by locals and the crew delighted to have the chance to get their teeth into lions share of NZ sourced equipment was from local pro- something. viders. And it rolled sweetly and was successful. So I’ll take this opportunity to reiterate what my col- See you out there leagues are saying: Nicola MacAllan 26 | NZTECHO Summer 2018

NEWBIE PROFILE

Reece Baker is an experienced Cinematographer and Camera Operator based mostly in Wellington.

When did you join the film industry? And what was it that attracted you to film? I joined the industry after finishing film school in Auckland back in 2008. I was mucking round making films from a pretty young age, and I always knew I wanted to be involved with this kind of work.

What do you enjoy most about the work? The variety and diversity of work for sure, it definitely makes the work interesting and keeps you on your feet. It also allows you to experience new places and new people, and opens doors into worlds you wouldn’t otherwise come across.

Why did you choose to join the Techos’ Guild? What do you want to get out of your membership of the Guild? To feel more apart of the film community and engaged with the wider industry rather than hanging on the outside. I think follow- ing along the thoughts of Richards Bluck’s ideas from a previous issue, it would be good to see the Guild serve as a forum for open discussion and communication lines, so that we have an informed understanding of the current issues people face or that are relevant to the industry. competitive field though and quickly changing, so the idea is to What is your career path? What work would you like to remain focused, stay hungry and keep current. be doing in the future? What might stand in your way? What do you want to see the Guild doing in the future? I want to pursue the craft further, refine skills and continue to learn through master classes, with the intention of shooting Hosting workshops, possibly a practitioner series of Q+As or more film and narrative content. If I can travel with the craft and discussions, or even podcasts. Generally anything around open work overseas, I think that would be good goal in sight. It’s a information and keeping us connected would be good.

VISIT ScreenSafe.co.nz

Health and Safety for the Screen Industry Helping create safe workplaces NZTECHO Summer 2018 | 27

NEW MEMBERS

Join us in giving our new members a warm welcome!

Tony Keddy: Auckland Grip Dane Grant: Auckland Safety Officer Kahiro Wada: Auckland Other (production) Samuel Fraser: Auckland Camera Steven Saunders: Wellington Art Dept (Weta Workshop) Martine Bijker: Wellington Art Dept Reece Baker: Wellington Camera Marion Davey: Wellington VFX Production Mgr Stan Alley: Wellington VFX Peter Bersani: Queenstown Transport

Mick Sinclair

Ph +64 9 360-9995 www.sinclairblack.co.nz 28 | NZTECHO Summer 2018

IN MEMORY OF

Andy Reid 11 September 1950 - 22nd September 2018

I first met Andy Reid in a pub. No surprises there I guess. He was probably crouched over a pool table. And he was probably winning.

Over the next few months I learned that Andy was a ferociously talented and competitive player. Taking a frame off Andy was always a victory hard won, and you knew you’d be lucky to repeat the result that night.

Over a drink Andy was prickly company at first, but if he decided you were worth the effort, a wry and disarming sense of humour would appear. He loved the Goons and Monty Python more than anyone I’ve ever met. He could knock off the thick end of a cryptic crossword before most people had even deciphered the first clue. And – like a lot of us in this business – he had wound up He taught me everything I know about in the film industry mostly because running pushing a dolly or laying a length of track, away to sea or joining the circus were no which I reckon was about a tenth of what he longer really available as career paths. Andy knew himself. was a misfit in a community of misfits. And he mostly was pretty comfortable with that. Even today, if I find myself on the back of a Fisher or a Magnum, I can still hear him Looking for work myself, I mentioned to Andy muttering ‘it’s not a fucking pram GT, you’re that I’d been on a few film sets, and after a in charge of a column of time and space’. while he offered me a job as his assistant on the first series of Duggan. Later on, when the work dried up and a new generation of techs came up the ranks, Later that week we were at the Gibson Andy could still be relied on to swing a truck Group offices for a pre-shoot meet and greet or a bus at a moments notice. I’ve never when Andy decided he needed to announce completed a locations job without calling to the room that I was his new assist and that him in at least once. my name was... He told me once that he didn’t know if he Andy’s memory failed him for a moment, was cursed or blessed. But he always knew so he resorted to calling me by the initials I that for a kid who grew up in a tough street wrote on the blackboard in the pub, to get in in suburban Auckland he sure did see some the queue for the pool table. wonderful places, and earned the respect of people from all over the world. I’ve been ‘GT’ to the Wellington film industry from that moment on. Cheers boss. Goodbye old mate. We miss seeing you around. To this day, Andy is the most talented and intuitive dolly grip I’ve ever seen at work. Graeme Tuckett NZTECHO Summer 2018 | 29

EXECUTIVE OFFICERS

President Annie Weston 021 453 037 Vice president Sioux Macdonald 021 969 609

Auckland chair Nick Treacy 021 280 8950 Wellington chair Adrian (Wookie) Hebron 0274 437 028 Queenstown chair Wayne Allen 0274 451 113

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

SCREEN INDUSTRY GUILD AOTEAROA NEW ZEALAND OFFICE Karla Rodgers, executive officer Jane Scott, accounts officer

Tel: 09 8899522 PO Box 68-294, Wellesley Street, Auckland 1145 [email protected] [email protected] [email protected] www.screenguild.co.nz facebook.com/NZFVTG

CREW REPS Screen Industry Guild office hours Remember to organise a crew rep on your next production. A crew rep, preferably someone Monday to Friday, 9am to 3.30pm who is familiar with The Blue Book, is the most efficient way to keep the lines of communication Outside these hours, please leave a open between the producer and the crew. phone message or email us.