New Zealand Film Commission update from CEO David Strong

TECHOSPHERE

New Zealand Film Commission update

As we approach the end of the first quarter of 2022, I’ve reflected on the last few months and how much our world has changed yet stayed the same. My thoughts go out to the people of Ukraine for the trauma they are experiencing and everyone in Europe who has welcomed refugees into their homes. I served as a peacekeeper in Bosnia in the 1990s and witnessed the horrific impact of war on people and a nation. My father-in-law was a child refugee in 1940 after the Soviet Union invaded Eastern Poland, which is now part of Ukraine. What we thought would never happen again, is. Watching the high-definition imagery and mobile phone footage reminds us all of the power of the screen to democratise stories and share them with the world. At home, as an industry and a country, we’ve continued to adjust to COVID-19 and its impact on us. The pandemic continues to disrupt our sector with productions either shutting down for short periods or postponing their shoots. This uncertainty is challenging and I know many are experiencing significant stress and anxiety. Our number one priority this year is to support the industry through COVID and this has taken a variety of forms. In late 2021, alongside NZ On Air and Te Māngai Pāho, we offered an interim round of Te Puna Kairangi Premium Production Funding which resulted in over $11.5M to four high-quality, large-scale projects. In addition, we have put significant investment into development to ensure a pipeline of projects will be ready to move toward production once restrictions and uncertainty ease. This has been both through Te Puna Kairangi Premium Development and the NZFC’s Early Development Funding. Our project tracking indicates that between 14 and 18 long-form New Zealand projects will go into production this year – the highest number ever in a single year. That’s great news for everyone in the industry and I’m also aware of the potential for them to shoot over similar time frames in the second half of 2022. Throughout the pandemic we have been in constant contact with our Ministries, MCH and MBIE, to communicate your challenges and concerns, and opportunities to mitigate these. In February we welcomed the Government’s additional support for the arts sector which includes a further $15M for the Screen Production Recovery Fund, with $7.9 being allocated to the NZFC and $7.1 to NZ On Air. This additional funding will allow us to keep the Fund open through to the end of this year to help minimise the impacts of any outbreaks and maximise production. I have had numerous conversations with colleagues around the world and COVID has affected everyone. The global screen industry was already changing rapidly pre-COVID and the challenges the pandemic threw up has forced acceleration of this. The NZFC is looking closely at international screen sector trends and what they mean to our industry, and how the NZFC could better support our industry strategically. For example, are there any big changes that could enable a more sustainable and thriving industry, and what is the NZFC’s role in leading or facilitating this? In the end, we wish to ensure the organisation remains relevant and fit-forpurpose in this changing world.

I wish us to do this thinking in a deliberate manner and we will engage with the sector on it. On that note, we have partnered with Price Waterhouse Cooper who will support us on this journey. An end result will be outputs which can contribute to the Government’s review of screen sector funding and an updated Statement of Intent. In this spirit, we welcome the Government’s review of screen sector funding. This review will consider the way it funds the industry with a specific focus on the NZSPG as well as consideration of the cultural and economic benefits to New Zealanders of the films produced with Government funding. At this stage we are waiting to hear the timeline and approach for this work. I have discussed this with both MBIE and MCH, who are clear that they see us working alongside them. I will also work closely with my peers in both agencies. They have advised they intend to consult publicly in the second half of this year and I would encourage you to look out for this and contribute your thoughts. New Zealand films continue to find success at home and at international film festivals. In the past year, 11 New Zealand short and feature films have screened at premiere international festivals including Sundance, Venice, Tribeca, Berlin, Melbourne, Toronto, Telluride and SXSW. James Ashcroft’s Coming Home in the Dark premiered in Sundance 2021, Canada-New Zealand co-production Night Raiders, directed by Danis Goulet screened at both Berlin and Toronto, Gaysorn Thavat’s The Justice of Bunny King premiered at Tribeca, Florian Habicht’s James & Isey screened at the Melbourne International Film Festival and more recently, Michelle Savill’s Millie Lies Low screened at the 2022 Berlinale and recently had its North American premiere at SXSW. In the short film space, in 2021 Lucy Knox’s Hot Mother screened at the Melbourne International Film Festival and Cian Elyse White’s Daddy’s Girl (Kōtiro) screened at Sydney. Stephen Kang’s Breathe had its world premiere at the 2022 Sundance Film Festival where Tanu Gago’s interactive installation Atua was also presented for the first time. Mark Albiston’s Datsun premiered at the 2022 Berlinale and has just had its North American premiere at SXSW. We’ve great talent and crew in New Zealand and can share in their successes here and on the international stage. The Power of the Dog, has brought New Zealand into the international spotlight as a screenmaking destination with its award-season recognition. Filmed entirely in New Zealand and with a predominantly New Zealand crew, The Power of the Dog provided a $28M boost to the New Zealand economy, with the bulk of that investment going into service industries in regional areas struggling in the wake of COVID. A function of the New Zealand Film Commission is to attract international screen productions into New Zealand and The Power of the Dog provides a platform to let our industry colleagues in Los Angeles know that we are open for business.

COVID restrictions have meant I haven’t had the opportunity to travel the country to meet you all as much as I would have liked to. I did manage to get to Queenstown, Dunedin, Christchurch and Marlborough before Christmas and as always, was impressed by the passion for filmmaking. I aim to visit North Island regions in the first half of this year via the Regional Film Offices and then make this a regular occurrence. As we said in the Army, time spent in reconnaissance is seldom wasted and I believe strong relationships are a foundation of our industry. Finally, I would like to give a plug to ScreenSafe, an organisation which is critical to our industry. With the high level of production we will be seeing this year, it is vital we maintain safe and healthy environments on set. We need to look after the physical and mental safety of everyone working on every production so our skilled workers can and will remain employed in the screen sector and can go home safely each day or night. We must be doing something right, as I’ve had overseas enquiries about our approach to on-set health and safety. Let’s keep working on this. Looking after ourselves and others is important, and please reach out for support if you need it.