Lesley Burkes-harding
How long have you been in screen production and how did you get started?
Quite some years ago I was sent – by some quirk of fate – to check out a course for theatrical costume design at a tech college in Liverpool in the UK by a school careers officer. I had no idea of what I was going to find, but he really got it so right for me. Whoever you were careers guy, thank you for setting me off on this crazy adventure. I emigrated to NZ in the late 70s and got a job at Auckland’s Mercury Theatre, and my lucky streak just kept going. This was an amazing place for a young costumer to start work. We produced everything from one- or two-hander plays to huge musicals and operas. I worked with an amazing group of designers, directors, and actors through the mid to late 80s. I got so much hands-on experience within so many genres and periods of costume, I was really able to hone my period cutting and design skills. This genre of work has always been my first love – I adore getting my hands on a good corset.
I got my first film job on Jane Campion’s An Angel at My Table in 1989. I assisted a wonderful designer called Glenys Jackson and learned so much from her. That lucky star of mine – wow – what an amazing first film experience.
What genre(s) does your work tend to come from?
I work mostly on film and TV drama. I am asked directly by a director or producer to collaborate on a project, anything really from short films to The Hobbit. I really enjoy the variety and the chance to work with so many super-creative and inspirational people. I’m also still lucky enough to be asked to work on theatre projects which I love – last year was really my year of ‘the musical’ – back to my roots. I had a blast working with Michael Hurst for Auckland Theatre Company on their Christmas production of Chicago, a very sexy, dangerous, funny show. Also Mamma Mia for the NZ Music Consortium – fabulous fun. I’ve always loved the energy of working with musicians and dancers, crazy fun times with feathers and sequins couldn’t be better.
How easy is it to make a living in this industry/how often do you work outside the screen production industry?
Not an easy road at all, as I’m certain most of my colleagues would agree. Apart from the actual availability of work, getting the HOD gig as costume designer isn’t easy. We just don’t make enough product here in NZ to keep us all working all of the time, there are only so many jobs. We really rely on overseas producers coming here to make their films and top up the local work, even then – nowhere near enough work.
That whole business with the Government refusing to up their participative game re the small and large budget film grants was unbelievable. Thank all available deities they saw sense. We currently have a raft of films in production as a result. It’s all very well for NZ crews to be touted as ‘world class’ but it’s no good to us if we’re on the shelf rusting over – governments of the future keep us all working please!
I definitely have to work in other sectors to make a living. Apart from my theatre work, I teach historical costume and design at Toi Whakaari in Wellington and other tertiary schools. I very much enjoy my teaching and connecting with students and want to further this work as much as I can. Our young costumers – as all crew – are challenged beyond belief to try and carve out a career for themselves these days due to the dearth of continuous work. It’s very hard for them to hone their craft in professional practise when there aren’t any jobs.
I’ve been really lucky to have worked as a freelance costume designer since 1989. My husband John (Harding, production designer) and I have managed to earn enough money between us to own houses and go on holidays over the last 30 years (just like normal people). It hasn’t been easy but we have a terrific bank.
How does your department work as part of the ‘whole’ that other crew probably don’t realise?
Hmmn. The costume department is part of the whole as are any department. We run our world on speed and super efficiency – we can’t be seen to be holding anyone up. We need to be ready for anything. It can certainly be tricky dealing with wet, cold actors, or layering up the blood and the mud as well as trying to keep the rest of the cast dressed and ready to go …oops, let’s go again with that. Respecting the process with the actor in these or any other situation is paramount and takes experience and time. We would never want to rush or be unaware of their needs while I fit a new costume or we empty the contents of a bucket of (always warm) water over them. Sorry guys. We rely on our colleagues in other departments for help in many ways and they’re always there to give it – love that collaborative spirit. In these days of low budgets and small crews – feel free to grab a brolly or a blanket people. But it is more than that, we work most closely with the hair and makeup team, toggling our actors between us to dress and get to set, our friends in the art department and of course our wonderful ADs who know what we need before we do – lost without them. Transport, unit, where do I stop? Love you all.
How have your rates changed/improved over the years?
My rate hasn’t really gone up in general for a long time. In fact, most often it goes down. Budgets are hard and tight. Crew rates have risen and I’ll always try to make sure that parity and fairness prevails between departments.
What sort of changes have you noticed? Have you noticed any trends?
The newbie that gets onto a job with me will be a self-motivated, quick, collaborative, super smart, creative team player who knows how to make a good cup of Earl Grey and has a fantastic set of individual craft skills. The tech schools have got better at turning out students with actual skills over the last few years. I find that the expectations of what it’s like to work has also improved, perhaps because of more industry people being involved in the teaching.
What strengths do you think the NZ industry has/what could contribute to a more sustainable industry?
The exact same strengths we’ve always had – amazing adaptability and creative skill sets and superhuman expertise with number eight wire. If we don’t have it, we will make it, quickly and brilliantly, with as little fuss and palaver as possible. And we’re really nice. That counts. A more sustainable industry? The Government of the day is a key player (unintentional pun) we require them to act creatively and energetically to sustain our industry. New Zealanders are rightfully proud of our high-profile film and TV that graces the world’s stages. The sacrifices that producers make to get films made are legend. They need a much more lucrative support structure that enables them to bring work here, producers work tirelessly on everyone’s behalf, film industry worker and audiences alike. The jobs only come to us after years of hard labour on their parts. The highs and lows of our industry are destructive and can be really demoralizing. It would be fantastic to even these out a bit, enabling some continuity of work would be majorly insightful and positive for us all.
