Mike Preece




НазваниеMike Preece
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Дата29.10.2012
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Tim Coddington, Nukuhau Production Services Ltd



I would like to acknowledge the critical role that the New Zealand Film Commission has, and continues to play, in the New Zealand film industry.

I welcome the review and the opportunity for the industry to have its say in this.

This review is long overdue and I thank the current government for having the wisdom and courage to undertake this.



  1. What are the challenges facing the NZFC in a rapidly changing domestic and international film industry context? This will include looking at technological changes, and the development, financing, production, marketing, and distribution challenges that the New Zealand industry faces in an international setting.


The NZFC now has the availability to tap into a greater network of industry players and knowledge through the interaction with more foreign companies brought about by the LBGS and the coproduction treaty agreements. These opportunities have been missed somewhat by the NZFC as they have not made efforts to interact with such people when they have been here and therefore not built the relationships.

The film industry will continue to become a more international industry within NZ. The NZFC must be careful not to become insular while at the same time preserve the quintessential NZ film base.

There will be more opportunities for foreign investment in NZ film as individuals gain international experience and international companies look at NZ as a good place to film using NZ film makers. We should welcome this development.


  1. How can the NZFC most effectively act in a facilitative role to enable the industry to develop and produce high quality film projects that meet New Zealand cultural content objectives and reach a domestic and international audience?


The NZFC has no way of guaranteeing that every film will be a success. They have to take the calculated risk that chosen films and the associated film makers will make a successful product. The methods used to minimise the risk of shows being unsuccessful should be reviewed. There appears to be a quasi academic view of the films chosen over recent years which while they may do well at certain film festivals they have little hope of popular success and little hope of furthering careers. This can result in the same people lining up for NZFC money producing the same type of disappointing product.


  1. What impact has the introduction of the Large Budget Screen Production Grant Scheme and the Screen Production Incentive Fund had on the public funding environment and the role of the NZFC? What is the role of the NZFC in helping New Zealand production companies take advantage of these new incentives?

These schemes have been successful in both a financial way but more importantly in growing the industry. The longer term benefits of this are about to start kicking n. Through this scheme different individuals have gain the respect and confidence of overseas producers and companies to the extent that they will back and assist NZ films.


  1. What is the NZFC’s role in providing assistance to ensure that New Zealand films reach an international market? Are there tensions between the NZFC’s own interests and the interests of filmmakers and third party investors in marketing and selling New Zealand films domestically and internationally?


The NZFC should be in a position to introduce film makers to international players through the networks they establish by capitalising on the LBGS links. They should assist even as a conduit to markets etc.

There are always tensions between the parties involved in film making. That is a reality. However the results should be a win for everyone. This can be achieved by allowing flexibility and working with confidence in such matter rather than hiding behind doctrine and ignorance.


  1. Are there changes to the NZFC’s role that are called for given the challenges facing the New Zealand film industry and the NZFC in the international environment?


The role of the NZFC should stay pretty much the same. It is the execution and method used in fulfilling that role that needs to be updated.


  1. What are the NZFC’s objectives and strategy for professional development, training, and industry support? Examine these in the light of the international and domestic environment and best practice.


No real comment on this in such specific terms but there are some suggestions on training and assistance at the crew level in my notes later.


  1. Examine the NZFC’s current approach to providing information and research and whether any changes should be made in this area to meet the needs of filmmakers and audiences.


I consider this adequate. The film maker themselves has a responsibility to do this and there are many avenues open for that.


  1. Examine the relationship between the NZFC, private investors, filmmakers and the international industry with a particular focus on roles in raising finance, developing, producing, and marketing New Zealand films. Are there areas where greater collaboration would be desirable and if so how might this be achieved?


Yes I think greater collaboration is needed. This is best to come about through interaction with the parties and potential parties involved. Social and work based events.


  1. Are the NZFC’s structural, governance and management arrangements effective and similar to those of relevant national film bodies in other countries? How can the NZFC improve organisational/operational capability and value for money?


There are many things to consider here. Basically it appears to be similar to other structures overseas but I haven’t dealt much with any. The internal structure of the NZFC appears to be cumbersome and overstaffed. This often leads to inefficiencies and low energy levels. I believe a leaner team that uses outside contractors only when absolutely needed would be more efficient and produce better results.


  1. How can the NZFC be responsive to the needs of New Zealand filmmakers to ensure that active industry professionals are involved in setting its strategic direction?


You’ve done that by engaging us on the review and taking our feedback. Don’t stop with this though make it a continuous thing.


Further notes and suggestions.


  1. There is a fear that our NZ stories will be swallowed up and lost if we become too international. That we will lose our identity. I disagree. This hasn’t happened in the literature world, the music world, art world or any other creative filed. The opposite has. By making our stories, our music and our art international it has ignited a hunger for more.

  2. Look at the wine industry. It stopped making NZ wine for NZers by NZers and made international wine. That wine is quintessentially NZ wine and has its individuality. How successful has that been?




  1. The NZFC should have an escrow acct. This acct can be used by films intending to use the LBGS or SOIF and are independently funded. They should be required to lodge the wrap funds into this account or they will not qualify for the grants. Then if something goes wrong the show can be wrapped up neatly. I tried to have this done on Kingdom Come and such a ‘tool’ would have given us the protection we tried to enforce.

  2. This escrow acct can be used to hold location bonds or deposits for DOC and public places also.

  3. The term of the CEO should be capped. The NZFC is a cultural body. If the CEO had an agenda and influence then that can give rise to our culture being unnaturally warped or deliberately hijacked. Further the CEO in a normal manner cannot help but have influence on the style and genre of film being made. The capping will ensure that over time we get variety.

  4. Training. The LBGS and SPIF schemes could be used to encourage productions to take on trainees or interns. It would be great if the NZFC could arrange a system where they can get interns placed in some of the studios. Imagine the benefits that would give to an individual and then on to the industry.

  5. There needs to be a more open feeling towards the NZFC. There has been too much bad press which whether warranted or not should never happen. If there is an engaging and open atmosphere then mistrust and doubt does not grow.

  6. The more robust that the guidelines and procedures can be made the better the system. Then discretionary funds and spending are more transparent and there is once again less suspicion.

  7. The NZFC is an essential part of our country and while there needs to be changes and things need addressing we should not lose sight of the achievements and progress that has been made to date.
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