Steve Unwin

What brought you into the film industry? Was it always something you wanted to do, or did you find yourself with the appropriate skills learned outside of film, and then apply those skills to what you do now?

Like a lot of film folk, I’ve had a circuitous route to where I am now - working mainly on factual projects and some drama. I have a background in fine art sculpture, studying in London - from there I worked as a freelance sculptor & prop- maker on various film and TV gigs. So when I moved to Aotearoa New Zealand I was looking for something similar. My timing was perfect! Lord of the Rings was just cranking up in Wellington - so I got taken on as a creatures sculptor for the trilogy. Over a decade and several big films later working as a designer and sculptor - I went on to starting up the Media Production Department at Wētā . (I'd always used video and stills cameras as part of my studies and work). The need to document through filming and photography what was going on with all the big projects that were going through Wēta, motivated us to create the Media Production Department. These were my first steps into documentary film making. I also loved the opportunity to do proof-of-concept shoots for film productions and working on set. After almost 20 years there, I left a buzzing department of 12 people to make my own path as a freelance DP/Drone Op/Creative Producer and start my own wee production company, Clockwork Creative.

What keeps you here? Is film and screen industry work something you still love, or will you one day move into something completely different?

The filmmaking I love doing now - projects that align with my values - things that motivate me to get the story out. I’m quite picky now when I get the choice. It gives me so much satisfaction and I feel rewarded to work like this. I still get a buzz from these projects, and will keep working in this field for as long as that buzz keeps happening, and people keep asking me to help tell their stories. Wildlife & habitat protection, minority rights, Te Ao Māori, and culture diversity. I’ve been able to work on some high profile documentaries to spread the word about things that I think are important. I love meeting all the new people along the way.

Learning new skills also keeps me fresh and interested. Diversifying and skilling up in the last few years in order to meet the needs of clients has led me to qualify as a 102 CAA approved drone pilot. Flying my Inspire 3 cinema drone has opened up a lot of opportunity with aerial cinematography, as well as my ground- based filming.

Why have you joined the Guild now? Is it something you have been considering for a while, or was there a sudden realisation that made you want to join?

I’ve been thinking about it for ages! I’ve always used the Bluebook when engaging freelancers and working out contracts. I also appreciate the opportunity the guild gives us, to support each other so that we can secure a safe and equitable working environment. I believe the Guild does important work in this space, but I just hadn’t gotten around to joining up. Also - flying around the motu with cameras, drones and other equipment that requires a lot of batteries. The lure of the increased luggage allowance for batteries certainly was a kicker for membership!!

What do you think the Guild can and should work towards, for its members?

Continue to promote health and safety in the industry, and maintain standards so the technicians are supported with vital information about their rights. It’s great to know that there is someone who has our backs if conditions deteriorate. I think it’s essential that there’s a body that double-checks that overseas (and local) productions are working in agreed ways so that our members are protected.

2023 has been a very lean year in the film industry, with many workers taking up positions in other trades. Have you kept busy in film this year - and what sort of work has there been around?

2023 has been okay for me. I have a few ongoing clients who always need my help at least once or twice a year. I’ve also had a variety of work shooting on ongoing domestic TV productions for the likes of TVNZ and TV3. There’s also been various overseas projects that have come my way through Universal, Warner brothers and Netflix and Disney.

The fact that I upskilled/diversified into drone work has brought a few more projects to my door, so I feel like ‘Ive been luckier than some. I know a lot of colleagues who have had a rough year, having to find regular work. I try to be as supportive as possible, sharing work out where I can. I hope we can all pull through!

What would a sustainable, booming film industry look like in NZ? Do you feel we are heading in the right direction to achieve it?

Part of my vision is to see a more even spread of work in film and TV work throughout Aotearoa New Zealand. We have some incredible talent, locations and stories up and down the country - it’d be good to see opportunities for all of these to shine. A balance of overseas and domestic investment to keep the profile of our country prominent, and continued government support, keeps our local stories being told. That’s got to be a positive for local and international consumers. We have a unique perspective on the world - and it’s one that’s worth sharing.

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