New Era for Screen Industry

Kia ora all,

Well here we are again, another year done and dusted!!

This year at the Guild we slowed down from the manic infrastructure revamp activity of last year giving time to refine and tidy up the many loose ends from the previous year.

We also entered into a new era of partnership with government on how the new work legislation should look and be defined within the screen industry. It was refreshing that the screen industry was identified as having its own framework and not slotted into a “one size fits all”. A consultation group was formed made up of key screen industry representatives (known as the Film Industry Working Group FIWG) with SIGANZ being represented by our vice president Sioux Macdonald. The recommendations presented to the Minister will be crucial as to how the screen industry moves forward. We await the Ministers’ response and will continue, as we have throughout the year, to update you as officially confirmed information and milestones come to hand.

On the production front as we end this year there has been a significant shift in the requests by some major productions towards a style or work, in the US known as “the continuous day” and in Europe as French hours.

I am somewhat despondent however, as we have set up how we wish to conduct business in NZ in the guidelines set out in the Blue Book. These guidelines were reviewed last year and are fair and rigorous not just for technicians but also from the point of view of producers. Surely we should consider our own standards to be worthy of consideration and alternatives as a plan B. Perhaps a bit of nationalism would do nicely here? There is of course always room for logical and acceptable argument in favour of alternative types of structure. For instance, if child actors form the bulk of a production, work hours are restricted due to the limited hours a child can be on set. This could be a fairly compelling and logical reasons to implement a rolling lunch. It is important to identify that the reasoning and argument for a change in work structure that differs from our own is honourable and not to appease a production companies desire to shoot faster to improve profit or “well this is how we do it in the US or UK”.

The expectation from all crew if a production wishes to introduce an alternative working day structure, or in fact introduce any major changes to our Blue Book guidelines be made as a request rather than as a statement.

Unfortunately in some instances the latter has been the approach and understandably not received well by crew.

For productions who have introduced this working structure with fairly good results (I would not say perfect), the approach has been democratic, where in the first instance, all HOD’s having been consulted and then been asked to present and discuss with their departments the alternative option offered. Thereafter, the HOD’s have been asked to vote on their department’s decision. If the majority accept the alternative working conditions then it must be accepted that this is the way the production will proceed. But it doesn’t end there. HOD’s need to present any problems they foresee and solutions be sought in collaboration with the production to mitigate a way forward before shooting begins. For example, some departments not getting sufficient breaks, (not just lunch breaks but toilet breaks). One solution has been that the 1st AD stop shooting to allow catch-up time. Put in place, this process has not necessarily been perfect, but manageable. For the productions who have approached this in what I would describe as a respectful manner, they have additionally ensured there are at least two crew representatives selected to speak on behalf of crew. Also they have communicated with the guild throughout the process providing a copy of the final crew contract. This approach has kept everything very transparent.

The cautionary note being that there is a slow and notable shift to this becoming the norm, when in fact up until now the norm in NZ has been to follow the guidelines set out the Blue Book allowing all crew to have a reasonable “tools down” lunch break. If the continuous day becomes standard practise it will be hard to come back to our original guidelines.

So once again I urge crew, if presented the option of continuous working days to consider whether there is reasonable cause to do so and as explained earlier that comprehensive negotiation take place before principle photography begins. Most importantly all crew (this applies to all productions) be insistent that your contracts are issued in advance of the first day of shooting. When we follow the Blue Book we know where we stand. When terms and conditions deviate from the Blue Book it is important to carefully cross reference your contract to ensure what you believe was negotiated and agreed to does in fact form part of your contact.

Continuous hours may become an alternative way of working so when the Blue Book is next reviewed, recommendations for continuous days will be added to ensure we have solid boundaries but they will stand aside from the standard terms of engagement. Crew will dictate whether this becomes practise over time.

So as we wind up the year, there is much to consider as we launch into 2019.

Finally, before I sign off for the year, I would like to thank that stoic group of members who regularly volunteer their time and energy supporting the work of the Guild. You know who you are. Perhaps something for others to consider in 2019. As the saying goes, “many hands make light work”.

So to end, from me to you all, I wish you all the best for the festive season and coming year. Go out there, enjoy and play safe.