Tim Wells

How long have you been in screen production and how did you get started?

I first started working 10 years ago, after training in effects makeup. I worked for a while jumping between prop building and makeup work, but I found earning enough to survive harder, so I went into other work. Eventually ending up in business management, running my own comic book store. Dabbling in hosting small film screenings, I also began prop building again. Then four years ago my passion was piqued, and I returned to film production, I just couldn’t stay away. My work now has been in model building, prosthetics, and most recently physical effects.

What genre does your work tend to come from?

A lot of work for models and prosthetics comes from TVCs, the physical effects are more shorts and the current fantasy TV series being filmed in Auckland.

How easy is it to make a living in this industry? How often do you work outside the screen production industry?

It’s not easy – as most people know the jobs come in ebbs and flows. However, I have become pretty stubborn about not getting sidetracked and any money I do earn comes from the industry. The better the quality of your work the more work you get offered, so I’m always trying to improve what I do, learn what I can and exceed expectations.

How does your department work as part of the ‘whole’?

We are all there to help tell the story. I love special effects of all types, but as a rule if it’s not moving the story forward we shouldn’t be doing it.

How have your rates changed/improved over the years?

Rates tend to fluctuate a little with what is happening in the industry. I now know what I should be paid and most times I get it albeit there are times that I am so interested in a project I’ll give a little extra for free, however, I now refuse to undervalue my work. It was a little intimidating to start with telling a production what I would expect and with trepidation I thought I’d lose all the work. However, if someone is serious about what they are doing they normally know there is a reason for the expense. I will try to find ways for smaller-budget productions to achieve what they are after but no longer by undercutting myself or anyone else. When I sub for a workshop we both know my worth and the rates are normally higher than when I work directly for a production.

What sort of industry changes have you noticed? Have you noticed any trends?

It is damaging to the industry when production companies bypass experienced technicians in favour of cheaper, inexperienced employees, who work on one small part of the process without knowledge, experience, passion or even basic skills as a requisite. Fostering and nurturing a genuine passion, and respecting artisans who work in all the various areas of filmmaking is one key to sustaining the arts in our country.

I would love to see mentoring programmes developed. I have been lucky to have a couple of industry pros take me under their wing. I am still a novice, really, in the grand scale of things and I treasure the advice and mentoring that I have been fortunate to receive. Ideally, more technicians could take on apprentices with adequate funding to sustain the process.

What strengths do you think the NZ industry has? What could contribute to a more sustainable industry?

People. New Zealand’s film industry has a wealth of experienced and committed technicians, I work beside them every day and they are our greatest strength.

We are a nation of tinkerers and inventors. This limitless resource needs greater encouragement and investment.

Also, we need to continue to reassess what it is to be a New Zealander, there are many voices to be heard, and we all need to be constantly looking for opportunities to tell these stories.