Sustainability in Film Production

The first half of 2015 has been busy with a whole range of productions in all forms of media. The second half of the year looks leaner with a lot of NZ productions being completed and the overseas productions coming to an end. Enquiries and scouting visitors to look at what we have to offer are still coming from overseas but at the moment it seems no firm takers – although I know Auckland still has series work in production.

This year saw a new model of TV show arrive here. The numerous TV series destined for the US market produced here have worked within the NZ culture. Our working days of 10¾ or 12 hours scheduled time have fitted their schedules. The American TV series works 12¾ hours scheduled hours as the norm, and this year these longer scheduled days were introduced on some series, creating much crew discussion. I think the system is flawed. When the crew got to the end of a 12¾ hour day and if a scene needed to be completed, the crew had no appetite to work longer hours to complete it (when asked, as is our normal procedure). Even though crews are unionised in the US, crew there aren’t offered the choice of working additional overtime, it is assumed.

In my experience the production was in a difficult position. There was no room for error and it seems that the expectation is that we should be working whatever it takes to complete the day. NZ crews give everything they can to achieve the director’s vision and the producer’s project, we are known for having a positive attitude and a positive workplace. To me 10¾ or at the most 12 hours is the max that a crew should shoot. There is a definite drop off in the ability of the crew to work effectively after 12 hours. Travel to and from location adds sometimes up to two hours on to the day and a significant number of the crew have pre-calls that push their day to 15 or 16 hours. Is this what we want in NZ? Is this a sustainable way to run an industry?

It is time we had a debate about this. I realise producers are fighting an endless battle to find funding to produce films and programmes. Budgets are tight and the cost of producing any project is increasing as the cost of living increases. We aren’t the cheapest country in the world so we have to think carefully about how we use the limited resources. Technology appears to make it possible to do it cheaper but that doesn’t always prove to be the case.

One of the ways we can help to make this work is remain an industry based on co-operation and collaboration. We are a small and connected industry, so the opportunity to keep the dialogue open is easier.

Perhaps producers could have the opportunity to put their contract forward to the Techos’ Guild (for example) for analysis around potential problems around the terms and conditions of work? Perhaps there could be a plain-English version of the contract? While contracts aren’t too difficult to read, I would assume most technicians don’t read it in depth. Do you as a sub-contractor understand what your contract means and all its implications?

Establishing crew representatives in pre-production, even before all the crew have started, would help. Maybe there should be an email vote – nominations for the positions and voting for the nominated people if there are more than two. Or a separate art department crew rep that is nominated in the early stages of the production. It is to the production’s advantage to have dialogue underway as early as possible so any potential problems are sorted before they impact on the production. The reality is if the crew is unhappy the production suffers, it is easier to collaborate and embrace the people who are creating your vision and you will achieve some much more.

I want to acknowledge the death of Andrew Lesnie. A tragic loss to the filmmaking community, Andrew was to my mind an honorary New Zealander having spent the last 14 years collaborating with Peter Jackson. He has helped shape the changes in this industry and mentored a large number of the technicians that have made us a powerful force on the international stage. He will be missed.

See page 24 for a special tribute to Andrew Lesnie.