Way out West NZTECHOSUMMER 2010 | ISSUE 47 - The Screen Industry Guild
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NZTECHO
SUMMER 2010 | ISSUE 47
The New Zealand Film and Video Technicians’ quarterly
Way out West
Interviews with Katrina Hodge
and Benny Tatton
Film friendly
initiatives
Safety takes
centre stage
www.nztecho.com
Make friends. Influence people. Join the Guild. Need a couple of sentences: - when you join the guild you’re supporting the industry / key services… etc - benefits / services to you… > contact point? website, ph, form??
EDITORIAL CONTENTS
Welcome to your shiny new NZTECHO magazine. We hope you enjoy the
read and the pretty pictures…
GUILD NEWS & REVIEWS
The relaunch of NZTECHO as a quarterly, full colour publication is part of a 2 President’s rave
communications review commissioned by the Guild, with funding from the A word or two from Guild President Alun Bollinger
NZ Film Commission. As a membership organisation, the Guild recognises 3 Behind the scenes
the importance of effective communication among members and potential Executive Officer Fritha Stalker on latest Guild activities
members. However, as a not-for-profit organisation with limited budget
and resources, it also recognises that this must be balanced with financial 5 News reel
prudence. To this end, the Guild has refined its communications schedule
and will release NZTECHO four rather than six times a year, supplementing CLOSE-UP
this with: regular email alerts; richer, more timely website content; and ad 6 How the West was worn
hoc training or networking opportunities. Margo White profiles Katrina Hodge, costume designer on Outrageous Fortune
Separately, you may recall our reader survey last issue. Or rather, the four
10 location, location, location
readers who replied may recall the survey! We had hoped to reinforce our
Benny Tatton, Outrageous Fortune location manager, talks to Margo White
new NZTECHO content strategy with survey results, but are loathe to as-
sume this is a representative sample of our membership. Instead, we hope
you’ll agree that, as the voice of the Guild, NZTECHO should seek to:
TECHOSPHERE
• Represent the views and interests of all Guild craft groups equitably 13 Blue Book: holiday entitlements
and consistently 14 Safer sets: Safety Code of Practice review and CTU survey results
• Provide a platform for members to share their experiences, expertise
and views
16 In focus: The Hobbit
• Inform members of Guild activities, policies, upcoming projects and 18 Wide angle: Film Auckland outlines an industry-council initiative
other matters of interest to make Auckland more film-friendly
• Inform and educate readers on workplace and welfare-related issues 20 Call sheet: AGM, Branch Committees, new members, contact us
• Comment on news, issues or challenges that are relevant to Guild
members’ work or welfare
• Provide a platform to share information about craft group expertise and
experiences
• Celebrate the unique talents of NZ screen production crew and allied
craft groups
• Tell the story of the Guild, highlighting achievements past and present
that make life easier for the screen production community.
The survey participation bribe of a year’s membership and an NZTECHO
profile of their choice goes to X . Congratulations X!
As we celebrate a new era of Guild communications, we thought it
appropriate that our first and festive season issue should also celebrate a
NZ screen production that definitely goes down in history. Margo White Siobhan Marshall as Pascalle West, wearing wedding dress designed by Cybele and pavlova,
takes a last look behind the scenes at Outrageous Fortune with profiles of courtesy of Loretta. Photo: South Pacific Pictures
two talented techos, costume designer Katrina Hodge and location manager
Benny Tatton.
ISSUE 47 SUMMER 2010
Finally, thanks to designer Justin Westgate at biote for the new look
Editors Advertising
NZTECHO. We’re sure you’ll agree the content is well signposted and a
Nicki Paull / Fritha Stalker Advertising queries, please contact Fritha Stalker on 09 302 2202
pleasure to behold. or 0800 TECHOS. For a copy of our ad specs and rate card,
Publisher/advertising
please visit our website.
Happy reading! Fritha Stalker
Design
All contents are copyright New Zealand Film and Video
Justin Westgate / biote Technicians’ Guild, 2010, unless indicated otherwise. May not be
Printing reproduced, copied or transmitted in any form without permission.
PrintShop Ltd The views expressed in this publication do not necessarily reflect
Contributors the views of the New Zealand Film and Video Technicians’ Guild.
We appreciate the support of: Alun Bollinger
David Madigan
Margo White
Michael Brook
Ross Teppett
www.nztecho.com
2 | NZTECHO Summer 2010
PRESIDENT’S RAVE Award-winning cinematographer and committed West Coaster,
Alun Bollinger has been President of the Techos’ Guild for an age.
Outrageous outcomes
Perhaps none of this hoo haa between Actors’ Equity and The Hobbit ers by way of some form of residual arrangement.
would have happened if Actors’ Equity and SPADA had got together and Let’s not forget that a few years back producers successfully negotiated
talked many, many months ago. a more producer friendly arrangement for distribution of income on both
Sure the two parties have different agenda: the actors want to talk about NZ Film Commission and NZ On Air supported projects. Why should
a collective agreement and residuals; while SPADA insists they’ll only those gains not be shared with others who play a significant part in
talk about reworking the Pink Book. Different agenda should not stop ensuring the success of a project, particularly when it is their words and
the conversation before it starts. their faces up there on the screen?
I must say, as I have said before, that I was disappointed by the way the For more on The Hobbit debate and aftermath, turn to page 16.
actors’ attempt to negotiate with the producers of Outrageous Fortune But enough about Hobbits and actors and producers.
turned out. I understand that it may not be appropriate for over-riding
We screen production workers have to thank our in-coming and out-
terms and conditions of engagement to be negotiated in relation to a
going Techos’ Guild executive members. There was a bit of a shuffle and
single production, but I also think it inappropriate for the producer to
a changing of the guard at our recent AGMs in Auckland, Wellington and
threaten to ‘unplug‘ the project, particularly when it is being made with
Queenstown.
public funding. The Outrageous Fortune situation was in many ways like
The Hobbit situation, but on a more local scale. The actors attempted to I’d like to thank outgoing Auckland chair, Jen Butcher, for her input over
negotiate terms and conditions with the producers and the producers recent years. I hope we can lure her back onto the exec in years to come.
threatened to unplug the series (although they deny doing so). The crew And I particularly want to thank retiring treasurer, David Madigan, who
freaked out at the possibility of losing their jobs, so the actors backed has been a stalwart of our organization for many many years. David has
down. In the Outrageous Fortune situation everyone knows everyone retired as treasurer and from the National Exec; but he is still the immedi-
else involved so it’s quite personal, these are your work mates and ate past president and I can’t see how he can escape that position until I
colleagues who are getting agitated and whose livelihoods are being retire! Thanks heaps David for your invaluable input over many years. We
threatened. With The Hobbit situation the difference is that it’s not just do still have your phone numbers so no doubt you will be consulted on
your work-mates, it’s the whole country that is reacting to the threatened occasion, but not too often I hope.
loss of the project. And a big thank you to those new members of the National Exec who
Producers put a lot of work into getting a project up and running. Much have stepped up.
of that work is done purely on spec with no guarantees that their work Finally, as we head rapidly towards the festive season, I wish you Christ-
will pay off or that the project will come to fruition. They have to sustain mas cheer and all the best for the year ahead.
themselves and their offices through this speculative stage with no
certainty as to the outcome. Success for a producer is first and foremost
getting a project into production; any further success with sales and
potential profits or spin-offs is a bonus.
By the time a programme like Outrageous Fortune reaches its fifth series
it must surely owe much, if not most, of its success to the work of the
writers and the actors who have brought the stories and characters to
life. At this point I find it difficult to comprehend why the writers and ac-
tors should not share in any profits the project may bring to the produc-
NZTECHO Summer 2010 | 3
BEHIND THE SCENES Previously an academic nurturing young biologists at Auckland University,
Executive Officer Fritha Stalker now ably tends the Techos’ Guild
Exec office report
Welcome to the new shiny full-colour NZTECHO! I hope within its pages – more than a couple of roles now left vacant for new techos to get stuck
you see positive developments toward serving you, the members, who in. I suspect these roles are best divided amongst a group of Techos,
make up this great association, now and into the future. I think you’ll each taking an interest in an area of their choosing. Not only does this
agree our Communications Consultant and interim editor, Nicki Paull, distribute the load but also the contingency as people come and go.
has done a sterling job, as has our ‘tame designer’ Justin Westgate. For the general benefit of the Guild and wider industry, DM ravenously
Justin has been responsible for redesign of the NZTECHO look and feel consumed and digested relevant knowledge in a wide range of areas,
(production template) as well as layout and general invaluable advice developing a deep understanding of issues around: immigration, indus-
and input into this particular issue. We have been very excited during the trial matters (in the broadest sense), safety and health, taxation, screen-
process leading up to publication and we hope you enjoy the changes. related organisations and – not least – the raft of material feeding into
2010 has seen the resignation of some long-serving members of Guild the terms-of-engagement almost all screen workers benefit from (though
committees. Enduring gratitude is owed to: some sadly take for granted). Yes that’s right, the terms enshrined in the
Blue Book; terms aimed at providing conditions whereby crew earn a
Jennifer Butcher (Auckland Chair, board member) Tony Forster (board
sustainable living – and perhaps most importantly – fostering continued
member, editor and developer of NZTECHO), Annie Frear (Vice Presi-
safety while earning that living!
dent) Paul Richards (board, signatory, AKL branch) and George Wilson
(board, QTN branch). Your efforts on behalf of your community of techos David encouraged participation from members at the Auckland AGM;
are heartily applauded! explaining that his Guild involvement has provided him with great satis-
faction. He doesn’t believe his opinions ever stopped producers hiring
Warranting a special mention is the singular contribution of one David
him. On the contrary, he says that producers appreciate knowledge-
Madigan (soundie, Immediate Past President, Treasurer, board mem-
able people on hand to discuss professional issues with intelligence
ber, stalwart supporter of the office) who stepped down at the recent
and consideration. Respect for the considered opinions of others, even
Auckland AGM… There’s no point trying to avoid the fact that David’s
where they differ from your own, is certainly a central tenet of ‘Madigan-
departure is particularly significant. Viewing it in typically positive
style’ discussion and negotiation. David undoubtedly enjoys widespread
‘Madigan-style’, DM’s departure opens up an exciting set of opportunities
respect in the industry, and has built up professional relationships with
individuals from widely divergent groups further enhancing an apprecia-
tion of the ‘bigger picture’. To say that this will be sorely missed is a true
understatement.
Already stepping up to the plate to fill recently vacated posts: Brendon
Durey (Guild board member and director of family-run SPFX company
Film Effects) is our new Treasurer (pending formal board ratification,
a technicality essentially). Brendon is perfect for this skilled role, and
thanks must be extended to him on behalf of the membership for vol-
unteering for this job. Sioux MacDonald (board member and managing
director of Film Crews diary service) has bravely stepped into the breach
as Vice President; thanks are also owed to Ken Saville (sound, ex-VP,
ex-Pres) and Zara Hayden (production, board member, AKL branch) for
putting up their hands when the VP role became vacant… it was worked
out, in usual collegial Guild style, that Sioux was the woman for the job
during this current term, and both the remaining candidates stood down
in favour of Sioux. Sioux’s physical proximity to the office already sees
her providing regular support for Guild staff. I very much look forward
to her input in her capacity as VP as we move forward into 2011, and
beyond.
Many hands make light work, and it’s in your power to ensure the Guild
focus is on what you believe to be needed in the industry. Opportuni-
ties for input cover the spectrum – from the relatively regular input of an
active board-member through to one off, short-term focussed projects
like the Safety Code of Practice review. As each craft section of the
industry safety code comes up for consideration in the current review it
will be essential to have meaningful engagement from members. The role
you play could be as easy as reading a draft chapter and offering your
thoughts on content, readability and/or accuracy of information therein.
Other ways to contribute can be as simple as letting the office know
4 | NZTECHO Summer 2010
when something goes really well (or really wrong), or sending in a photo Post-Hobbit, what is most needed in the screen production community
to this publication! is constructive engagement, from leaders and those who support them.
So, a call to arms: identify your industry passion, make contact with …A much admired colleague of mine always impresses me with the
your Guild representatives (branch and/or board) then start a rewarding ability to identify the positive angle by which to approach any prospec-
journey toward understanding as you engage with and contribute to the tive ‘problem’. As we seek ways to move forward and build an industry
industry as best suits your strengths. where viable careers are possible I think we need a serious dose of this
positive attitude, coupled with a mindfulness of the inherently collabora-
Well the elephant in the room (read The Hobbit) is well and truly on the
tive nature of screen production. Pointing fingers is just not going to get
agenda for discussion now. I agree with Albol: in a situation where emo-
us anywhere nor is a focus on the past – be it on slights and hiccups or
tions are running high, where it is well-nigh impossible to locate the facts
some real-or-imagined golden-era.
and unlikely that any input will positively influence outcomes, it is prudent
to refrain from weighing in with further rhetoric. My only comment to There are many examples of upheaval and struggle over 2010. On a
the press was that the Guild counselled ‘circumspection and calm’. I personal note, the year is undoubtedly an ‘Annus Horribilis’ and I eagerly
genuinely believed this to have been the best approach. Despite outward await a new year, as this one ends. Anecdotal evidence suggests, for
appearances, I am certain that here – as with other strategic matters various reasons, that this has also been true for many others over 2010;
– everyone in the screen production industry (crew, actors, producers, seemingly unprecedented events stacking one-upon-the other at times
etc.) had the same big-picture end-game in mind. In this case: No one suggested preternatural cruelty. The truth of course is that this is another
wished a large production to go offshore. natural time of challenge as life is wont to send us, a time that we learn
from, and that then passes. I have learned a few lessons it’s true, and
This seeming lack of strategic cohesion in the industry is increasingly
even in the last few days more challenges and tragedy have unfolded.
worrisome and was the subject of energetic discussion at our recent
However, I have also been blessed in over the same period, not least
Auckland AGM. The Auckland Committee was charged with putting
with unwavering support from members of the Guild for which I will
a motion to the Executive Board calling for a meeting all organisa-
never be able to adequately express my gratitude. In the past I’ve sought
tions with a stake in screen production to talk about the general health
comfort and reassurance in the separation of personal and professional,
of the industry. This is a great step forward. The irony which must be
work being a relief in tough times, something I’ve no doubt you can all
acknowledged is that anxiety about the ‘incident’ in question spurred this
relate to. This year, in contrast and for the first time, the concurrent pres-
discussion, and undoubtedly increased AGM attendance and participa-
sures pushed me to a place where it was all pure and simply too much to
tion (two things I’ve stated are essential to increasing effectiveness in
bear, and for a time I was unable to manage my role here in the office. It
our organisation).
is a reflection of the genuine humanity of this community of people that I
To develop this theme further, the role played by industry organisations was given, without question, time out from my role, and then re-employed
in the immigration process (for temporary work permits) looks likely to when I felt ready; that individuals stepped up to keep things running, and
be changing. Over the course of an (albeit minimal) consultative process that compassion was extended to me in no uncertain terms. This is what
with Immigration New Zealand it was all too clear that the lack of a pan- communities are about, and it’s a measure of our community that not a
industry body confused the policy makers, muddying discussions with single person showed me anything but care and understanding during
them – as it does with any third party. The trouble is, the moment you my ‘dark days of the soul’. So thank you, all of you, and in my opinion
start to consider possibilities for a pan-industry body the usual spectres that’s certainly something to celebrate! Have a safe, productive and won-
are raised: funding shortfalls (or total absence), challenges in develop- derful holiday season, and a very happy, fresh-start to the new year.
ing effective and equitable models of operating such an organisation,
balancing input of creatives with business-minds and technical experts…
Yet none of these challenges should preclude the establishment of such
a body. Far from it – I believe a pan-industry body to be not only crucial
but inevitable. …I only pray I’m not the one charged with nutting-out
the details! That last, albeit rather flippant, comment not only illustrates
the saying ‘many a true word is spoken in jest’ but also points to a real
problem in this industry: a lack of constructive leadership.
NZTECHO Summer 2010 | 5
NEWS REEL
Honour roll
Techos’ Guild members were well-represented at this year’s Qantas
Film and Television Awards mid-September. We’d like to congratulate
all the talented crafts people nominated this year, but of course want to
make special mention of the Guild members nominated as finalists in the
categories below. Good on you!
Film Finalists:
Best Cinematography in a Feature Film
Alun Bollinger (Home by Christmas/Doublehead Films)
Best Original Music in a Feature Film
David Long & Stephen Gallagher (Russian Snark/Godzone Pictures)
Images and Sound Best Sound in a Feature Film
N Tim Prebble, [F] Ken Saville, Michael Hedges & Gethin Creagh
(Home by Christmas/Doublehead Films)
Ken Saville, Tim Prebble, Chris Todd, Michael Hedges, Gilbert Lake
(Boy/Whenua Films)
Best Production Design in a Feature Film
N Grant Major (The Vintner’s Luck/Ascension Film Ltd)
Best Make-Up Design in a Feature Film
N Steve Boyle & Jane O’Kane (Under the Mountain/Redhead Films Ltd)
Angela Mooar (Home by Christmas/Doublehead Films)
General Television Finalists:
Best Cinematography – Drama/Comedy Programme
David Paul (Kaitangata Twitch/Production Shed.TV/Maori TV)
Marty Smith (Outrageous Fortune/ South Pacific Pictures/TV3)
Best Contribution to Design
N David Cooke (The Cult/Great Southern Television Ltd/TV2)
Katrina Hodge (Outrageous Fortune/ South Pacific Pictures/TV3)
Documentary finalists:
Best Director Documentary
N Thomas Burstyn (This Way of Life/Cloud South Films)
Best Cinematography Documentary/Factual
Thomas Burstyn (This Way of Life/Cloud South Films)
6 | NZTECHO Summer 2010
CLOSE-UP
How the west
was worn Costume designer Katrina Hodge helped create New Zealand’s most
famous television family, the Wests. She talks to Margo White about
the creation of bogan-chic.
“Costume is not “There’s been quite a bit of discussion about seats – evidently hoping to tap into Cheryl’s
the idea of the Westie not being a geographic popularity; and Fashion Quarterly named
about making thing,” says Amanda White, Exhibitions Cheryl one of the best-dressed people of the
Manager at Auckland Museum. “But it’s a type first decade of the 21st century. According to
people look good of person, with a way of dressing and a way the latter: “Amateur sociologists might say the
on screen, but of being that runs throughout the country, West family and the bogan outfits they have
has its genesis from this particular locale in popularised over the past few years – all those
using clothes that Auckland.” white jeans, that leopard print and lashings
work with their “When the show started I think that type of of tight tops – are a sign that New Zealanders
look was geographically limited, she con- are no longer looking overseas and instead
characters.” tinues, “but now seems to have fed out into celebrating, and indeed even revelling in, their
everywhere. When something has that level of own culture.”
history and that level of popularity, you really It was bound to happen; high street shops all
do have to ask the question, to what extent over the world have drawn inspiration from
does it feed into the cycle.” American street wear, so it would follow that
Outrageous Fortune, the longest running drama the streets of New Zealand would be influ-
in New Zealand history, has been so culturally enced by a television series about a criminal
significant that it has now inspired a museum family from west Auckland. Still, who’d have
exhibition, opening 15 November, at the thought that bogan could be linked with chic,
museum. Think of the paraphernalia of the that “bogan-chic” could be said out loud, not
show as a collection of 21st century artefacts, even in an ironic way, not even as a tautology.
through which we can examine our culture,
our politics… our sartorial tendencies. K atrina Hodge, of course, was only draw-
ing on what was already out there. She
did her research, which mostly involved
There’s no question that the leopard print
phenomenon is huge,” says White. “Or that spending a lot of time people-watching at
there is a Westie chic look that people have Henderson Square or at Henderson’s main
picked up on.” mall, Westgate. “We watched and watched and
watched,” she recalls. “And the most common
So we can blame Katrina Hodge, head cos-
things were tight jeans, that feathery hair, and
tume designer, for the revival of the leopard
the trashy jewellery. And lots of jewellery; not
print. Apparently the leopard print heels that
just one necklace, but several.”
shoe designer Kathryn Wilson showcased
during this year’s Fashion Week, were partly Hodge was not unfamiliar with the so-called
a tribute to Cheryl; Social Development and Westie look – she currently lives out West, in
Employment Minister, Paula Bennett, has had Te Atatu Peninsula. Nor was she unfamiliar
her electoral office painted with leopard print, with the type of character. To say she grew up
Opposite page: Putting the chic into bogan. in a demolition yard would probably be an
Photo: South Pacific Pictures. and furnished the interior with matching car
NZTECHO
NZTECHOSummer 2010| | 7
Summer2010
8 | NZTECHO Summer 2010
Above left: Katrina Hodge. exaggeration, but her mother’s partner did develop strong and enduring relationships
Photo: own one, in Grey Lynn, and she spent a lot with many New Zealand designers. As fashion
Above right: Dressed up for a big night in, of time there. “I could say that I have met or spotters would be aware, characters like
series 6 cast and crew. known a lot of the characters in Outrageous… Loretta and Pascalle paraded some of our top
Photo: South Pacific Pictures that’s one of the reasons I’ve felt quite a strong labels, such as Karen Walker, Kate Sylvester,
attachment to them.” Cybele, Kathryn Wilson’s shoes, et al. “That
She also knows a lot about clothes; her became really poignant to me and quite
mother owned vintage clothing stores on special because we were so well supported by
Karangahape Rd, such as No Go Zone and such fabulous New Zealand designers. And
Kaos. “We used to go around to the bailers so I always tried to get lots of New Zealand
and the sorters who used to stash stuff for us; product on screen.”
I don’t know if that was kosher, but you’d turn Not that this was just about showcasing the
up and there would be three bags of 1950s latest designer’s collection. Hodge often draws
cotton dresses, and we’d buy them for next to on fashion faux pas to highlight the person-
nix and sell them for next to nix.” alities of even the most fashionably dressed.
When she left school she worked in various Such as Pascalle, who often had her midriff
clothing retail outlets, at Victoria Park market, hanging out the top of her jeans, or skirts and
at Hunters and Collectors and a shop in High frocks revealing too much thigh. (Among
Street. In between she studied pattern making, those in the wardrobe department, Pascalle’s
although that wasn’t really her calling. “I’m skirts were commonly known as belts.) “Cos-
not a numbers person and you had to be re- tume is not about making people look good
ally spot on with numbers in pattern making.” on screen, but using clothes that work with
Sometime in the early 90s, through a friend’s their characters,” says Hodge.
mother, she scored a gig on South Pacific Loretta, arguably the best dressed of the lot –
Pictures’ Plain Clothes. “And so I ended work- at least in the later series – was loosely based
ing as a trainee in the costume department, on American fetish model Dita von Teese.
for $150 a week, working stupidly long hours, “She is a good example of a transformation,”
and dressing police extras out of a truck.” says Katrina. “She started out in t-shirts, jeans
Something must have clicked; that contract and trainers and didn’t give a fuck, hadn’t
was followed by a job on Xena, a show she de- had any sexual experiences, didn’t care much
scribes “as a breeding ground for some really about her body and while she was manipu-
skilled technicians.” After that she worked as lative, she wasn’t aware of the power of the
the design assistant on Mercy Peak, where she seduction.”
eventually ended up as head designer. Then she figured out that looking good
One of the most satisfying aspects of Outra- helped her get what she wanted. “The younger
geous Fortune, says Hodge, is that as the series Loretta always wore a black t-shirt so we kept
went on – and on and on – she was able to her in black clothes and while her look wasNZTECHO Summer 2010 | 9
fitted and sexy it wasn’t particularly revealing. do that,” she adds quickly, “I took the day off.
She didn’t have to get her twins out. It was But you get really tired and you think, ‘why do
a prim look, but sexy.” (Twins, incidentally, I do this?”
a noun used by wardrobe department for a “But I was talking with someone about it
part of female anatomy commonly known as about how our industry thrives during a re-
breasts.) cession because in a recession people tend to
Then there was Cheryl, who started out as a watch more television. And the person I was
mall shopper (white jeans, tight tops, heavily speaking to said ‘you have to understand that
textured bra showing) who became decid- you help create what makes people feel good’.
edly funkier as time wore on. “More of a rock That made me feel so much more attached to
chick,” says Hodge. “ I took inspiration from what I do because, you know, if the televi-
the Westies, but also iconic people that I really sion isn’t on we don’t exist and yet you can
like, like Patti Smith and Joan Jett, people get pretty caught up on the little things, like,
that I felt were strong female characters – no ‘oh my god Cheryl’s ring is missing’ or ‘we’ve
bullshit, strong, sexy.” forgotten the shoes’. “
A nd so it has ended, which Hodge says
is something of a relief, tinged with
nostalgia and sadness. She has since finished
“You get really stressed out about stuff that
you would feel is not important, but is im-
portant. So I now have this vision of the end
work on the upcoming Almighty Johnsons, is product, that it creates a feel-good factor for
working on her own kid’s label, Rookie, and a lot of people. It has given me a new surge
continues, she says, to work too many long of dedication to what I do, and respect for
hours. people that I work with.” n
“But I had a bit of an epiphany lately, be-
cause you often do work stupid hours in this
industry, you don’t have enough time at home
with your family, you get tired, you miss your
child’s first day of school… Although I didn’t10 | NZTECHO Summer 2010
CLOSE-UP
location,
location,
location.
It’s not easy being famous, and nor is it easy if your house is famous.
Benny Tatton, location manager of Outrageous Fortune, talks to
Margo White about the perils of too much attention.
After six long ratings-busting series, the house and I’m scared,” says Tatton who immediately
in which the Wests lived has become one of drove over and, finding a carload of guys
the most recognisable pieces of real estate in who “were high as a kite”, promptly called the
the country, a sort of Southfork; only rather police. “I’d been there a couple of times and
than a mansion set on an expansive ranch in chased people off, just told them that this is
Dallas, it’s a brick-and-tile located in West private property, it isn’t a set, you can’t come
Auckland. here and that would be fine. But this night
Nice back yard, great deck, terrific views over they were volatile and I felt nervous for my
the city and so typically Westie … the country safety, so God knows how the owner felt.”
became very fond of it. “Yeah, that house did “But you know, she didn’t want to make a
really grow as a character,” says Benny Tatton, fuss; the owner felt torn,” he says. “She had
location manager for Outrageous Fortune. signed up for this, so she didn’t feel that she
“As Clay [Ercolano, the production designer had a right to call up police and make a fuss
for the series] always said, the house has its about people coming onto her property. That
arms open. It was welcoming. It really does was sort of the tone of the whole relationship;
invite you in. From the moment you pull up she was always so accommodating, but by
into the driveway, there’s a stairwell that takes series three, it was quite apparent that we had
you to the front door, when you stand on that to do something as part of our commitment
property it really draws you in.” to her.”
And as Benny points out, this hasn’t always As a result, South Pacific Pictures put a
been such a good thing, at least not once security company on 24/7 emergency call
Outrageous became the most popular series out – and the service has occasionally been
in local broadcasting history and as house- called on. Tatton still isn’t quite sure why the
spotting fans struggled to distinguish the owners still went and agreed to series four.
difference between private property, and the “Essentially it came down to our relation-
stuff of television soap. Much of the time it ship, and they knew that I would do whatever
meant the owners had to put up with run-of- it took to keep them safe. But by that stage
the-mill and mildly irritating attentions of it was so popular anyway, it didn’t matter
people who wanted to get their photo taken whether we were there or not. The Wests lived
in front of the house, but sometimes things in the West’s house, and it was their castle and
turned nasty. people wanted to see it… I don’t know how
“There was one night, on series three, the we got series five and six. It was the pure heart
owner called me and said, there’s someone of the owners.”
here Ben that I don’t know what to do with Tatton has a broad smile, a direct way of look-NZTECHO Summer 2010 | 11 ing at you and easy-going manner; qualities them. “Because there’s no money in music Above: The house the country embraced. that would undoubtedly be useful for a loca- videos everyone is working for nothing and Photo: South Pacific Pictures tion manager, for whom getting in the door really really hard. So I got my brother to fill is a fundamental part of the job. He initially in for me as the extra, so I could give the guys trained as a bricklayer, and then a builder, behind the scenes a bit of a hand.” getting his first introduction to the film and He must have been useful – the producer television industry when a friend pulled him encouraged him to enroll for film school. in to work as an extra on the music video, the He took himself off to South Seas Film and Decepticonz “Stop, Drop and Roll”. He didn’t Television School and although he left halfway really enjoy dressing up as a cadet and danc- through the year – “no money coming in and ing in front of the cameras, but was intrigued the bills were piling up” – he says it was worth by the army of people running around behind it. “It’s really work-based and attitude-based.
12 | NZTECHO Summer 2010
and say who I was and who I was working
for and instead of having to convince them,
people would go, ‘please film here’.” But that
didn’t lead to plain sailing either. “A lot of
fans would want us to film, but wouldn’t
understand that they couldn’t use their house
for the day, or that they would have 40 crew
members here. They just wanted to see Robyn
Malcolm or Tammy Davis, but wouldn’t be
listening to me in terms of what it actually
meant. A couple of times I got caught out…
let’s just say it wasn’t the best thing to get the
biggest fans.”
O verall, it was a great ride, though, and
a hell of a learning curve. “Nobody
could have expected that it would become a
cult show. I think SPP as a production house
learned heaps, in terms of management, and I
learned more than I would have on any other
show. Outrageous had such a broad fan base,
really well-to-do Herne Bay mothers to down
and out street kids.”
Above: BennyTatton, location scouting in The work load itself is huge, and they really Thousands will lament that it’s all over, the
downtown Auckland — while giving his get it into the student’s head that if you’re not owners of a certain two-story brick and tile,
daughter, Mela, an early introduction into his willing to put in 60 hours a week you’re not and you can assume their neighbours, won’t.
profession. Photo: ????????.
going to fly.” Some time later, he got a small “It’s kind of bitter sweet for them,” agrees
job working as general gopher on a television Tatton. “They never did it for the money; the
commercial. “It was about being on set, help- money always went to their grandkids, taking
ing out anyone who needs help. I’ll always be them on trips away or anything to help them,
in debt to that job. I haven’t stopped working and that essentially sums them up.
since.” “But I’m really stoked that I’m really close to
He spent a couple of years running, not sure the household. We became really personally
whether he would go into the grip or the close, just because of the amount of time we
locations department, eventually gravitating had to spend together outside the filming.
toward the latter. His first management role We’ve been through a lot.” n
was on series two of Outrageous, just as it was
becoming seriously popular.
Of course while the popularity of the series
made things difficult for the owners of The
House, it also opened plenty of other doors.
Literally. “I could go around west AucklandNZTECHO Summer 2010 | 13
BLUE BOOK Past President, long-time member and tireless advocate for all
things techo, David Madigan is a one-stop Guild encyclopedia.
Happy holidays
With the festive season approaching, it seems a good time to take a look crews and so the penalty rate is justified. The regional anniversary holidays
at the treatment of public holidays for screen production professionals as were not seen as significant and possibly punitive to productions shooting
recommended by The Blue Book. outside of their home region. Historically, there had been no agreement from
The Blue Book is essentially an accord between producers and crew that sets producers with respect to Anzac Day or Queen’s Birthday and, as they hadn’t
out reasonable and balanced working conditions for the screen production been included in earlier Blue Books, they were left out.
industry. It’s all about good faith on both sides. Public holidays can become interesting for productions using international
The subject of public holidays can bring out some fairly entrenched opin- crew, particularly those from North America, who are commonly engaged as
ions. Some might argue that we work in a 365-day industry so why should employees and have binding union contracts. An example of this was The
contractors and companies charge extra for working on any of these days? Last Samurai. The production was obliged to observe ‘Presidents Day’ on 17
Others might wonder why screen production crew members are treated as February due to the US crew and actors’ contracts, and the production faced
second-class citizens compared to professionals in other industries. The significant penalties if the day was worked. The production also wished to
holiday entitlement dilemma is underlined on Anzac Day or Queen’s Birthday, observe Waitangi Day, on 6 February. The solution at the time was to ask the
for example, when the production office finds outside suppliers are on holiday New Zealand crew to shift their Waitangi holiday entitlement to 17 February.
and unavailable. Every now and then, screen industry workers really do lose out. The Christmas
Most societies have a number of days each year that, for various reasons, are and New Year holidays this season fall on weekends and employees have their
declared public holidays. While the reasons to mark these days may have statutory holidays transferred to the following Monday and Tuesday. Anyone in
blurred, it is generally accepted that they are ‘days of rest’ when a majority of prep for shoots early in the next New Year (2011) can be brought back to work
the population are not required to work. They are days to spend time with fam- on 3 and 4 January 2011 while most of the country is still on holiday.
ily and friends, and to celebrate all sorts of things (such as marching against A word of caution: if you are being engaged as a contractor and the contract
trade unions on Labour Day!) mentions ’statutory holidays’ rather than ‘screen industry public holidays’, you
Employees are granted certain rights regarding public holidays by the Holidays can be sure it has been written by someone who doesn’t understand legal
Act 2003. This Act specifies which days are ‘statutory’, or legally required holi- basics as applied to the screen production industry. Take care to read the
days for employees. There are 11 statutory holidays in New Zealand, about the remainder of the contract carefully!
middle of the pack by international standards. Consider moving to India, China, Finally, do make sure you take a holiday over this Christmas and New Year
Japan or Egypt if you want more public holidays throughout the year. period. 2011 is shaping up to be a busy year for crew and we all need to get
The other main requirements of the Holidays Act are that employees are paid away from the business for a week or two over summer….enjoy!
a penalty of at least T1.5 for working on a public holiday, and if it is a normal
workday, then they also get a day off in lieu.
There is no law that covers public holidays for contractors; however, the
screen production industry does have an industry accord in the form of The
Blue Book, which sets out reasonable workplace conditions and guidelines
for engagement. The Blue Book lists six relevant public holidays for the screen
production industry: these are Christmas Day, New Year’s Day, Waitangi Day,
Easter Friday, Easter Monday and Labour Day.
The penalty payment for working on a public holiday is nominally one extra hour
of pay (at the agreed hourly rate) for each hour worked. This is negotiable, mean-
ing a producer may ask for a lower rate, or crew might ask for a higher rate.
The Blue Book public holiday penalty payment is in addition to any overtime or
turnaround penalty payments incurred on that day. For example, if you work on
a public holiday and end up doing overtime, your pay entitlements for the day
should be as follows:
1 to 10 hours at T2
11th and 12th hours at T2.5
13th hour onwards at T3.
The public holiday penalty payment is not supposed to be a goldmine for crew,
but rather is designed to encourage producers and crew to observe the public
holiday where possible.
If you are booked to work on a screen industry public holiday, you should
confirm the penalty rate with the producer before you commence work to
avoid any confusion.
So what happened to the other five public holidays celebrated by employees
in other industries? When The Blue Book was last negotiated, Boxing Day and
New Year’s Holiday (the day after New Year) were deemed academic, in that
hardly anyone in screen production ever worked them (although those working
in outside broadcast might dispute this). On the other hand, Christmas Day
and New Year’s Day are often work days for documentary and broadcast14 | NZTECHO Summer 2010
SAFER SETS
Making safety an everyday issue
In 2011 the Techos’ Guild is embarking on its most significant sin- production and vfx activities as well as industry service and equip-
gle project yet: the development of an entirely new Health, Safety ment suppliers.
& Environment Code of Practice for the screen production industry. Ideally, safety codes should be reviewed every three years. However,
David Madigan, immediate Past President and safety sub-commit- the process of working with each craft group to create content would
tee member, talks us through the project realistically take several years, meaning by the time content was
In either documenting the world as it exists or creating the most complete, it would be time to start over again! The solution is for the
outrageous fantasy, we in the screen production industry find our- Code to be published as a living electronic document that can be
selves in constantly changing situations and realising great creative continually updated.
endeavours. The aim of good safety practices in screen production The Code will only be available as either a complete PDF document
is not to restrict what we are trying to achieve, but rather to engage or as individual PDF craft and activity chapters. The Guild will be
continually in safety risks analysis from script to screen. developing a web site for the industry to access the Code. The inten-
A safety code of practice is a cornerstone working reference docu- tion is to make the Code available for personal use, without cost, to
ment that covers safety precautions and recommendations for the members of The Techos’ Guild, SPADA, Actors’ Equity & the Screen
better prevention of accidents, incidents, and serious harm in a given Directors’ Guild. Individuals who are not paid-up members of these
industry, and should be read and understood by every contractor, organisations will have to pay an annual subscription to personally
employee and business owner. It is not compulsory to follow the use the code.
code but at the same time, if an incident occurs, it is not reasonable
Next steps
to have used a lesser standard. The screen industry safety code
The Techos’ Guild National Executive established a sub-committee
has a legal status in that adherence is used by inspectors and the
in mid 2010 with a mandate and finance to create a completely
courts when reviewing an accident to measure and assess both the
new safety code of practice. The sub-committee members are Alun
producer’s and the individual’s safety preparedness and actions.
Bollinger, Willy Heatley, Brendon Durey and David Madigan. The sub-
The existing Safety Code of Practice was last reviewed and pub-
committee has appointed Susan Ord, past Project Manager at Film
lished in 1995. Among the additional features of the new Code, is a
New Zealand, to develop the Code through its first stages (October
commitment to make it more accessible, i.e. easier to read. Safety
2010 to April 2011).
documents can be a bit dry and may seem to lack relevance. Our
The first stage of the project involves creating the framework for the
challenge is to provide the industry with a document that is widely
Code and an overall guide to risk management, risk assessment and
read and understood.
hazard identification, alongside a review of current relevant legislation
The new Code will feature complementary environmental considera-
and legal requirements. In addition, the document design will clearly
tions and guidance content. Many of our activities, from location man-
signal health, safety or environmental content.
agement to materials handling and disposal require common health
The actual content of the first stage should be available for industry
safety and environment consideration. This in turn complements the
review in January 2011 and be publication-ready by April 2011.
environmental sustainability of our industry.
The second stage of the Code is the development of the activity and
The environmental content for the Code is an initiative of Film New
craft-related technical sections. We aim to have five of these sections
Zealand, our national marketing and locations office, and will reflect
completed to complement the first section by April 2011, with the
the requirements of relevant environmental legislation and industry
remainder developed over the next two to three years.
best practice. The provision of the environmental content is being
funded by Film New Zealand and provided by Emma McConachy Contributing to the code
from Green Fox. The content of any code requires significant contribution from
By integrating environmental requirements into the health and safety industry practitioners. The most significant challenge with this Code
code the screen industry can ensure that environmental standards is to encourage individuals in each craft group to contribute their
and performance are readily measured against health and safety knowledge and experience. The Guild will facilitate participation by
standards. The risk management of environmental issues is integral craft groups (either by meeting, e-mail or wiki style contributions) to
with the risk management of health and safety. provide technical content for their chapters.
There are over 30 occupational craft groups in the screen produc- In addition, the Guild will provide supporting information for these
tion industry and most of these are either not clearly identified, or groups such as relevant legislation and extracts from safety codes in
not represented at all in the 1995 Safety Code of Practice. The new other countries, along with the content of the previous New Zealand
Code will have the flexibility to include off-set, production office, post code.NZTECHO Summer 2010 | 15
The wide range of activities that occur on a daily basis in the screen the Guild office by e-mail (subj: Safety Code) or phone.
production industry are unique and not repetitive. While there is op- The Health, Safety & Environment code is important to all crew. It’s
portunity for each craft group to detail safety requirements in a thor- your reference guide to common sense practices that ensure every-
ough manner, the Code will not set out to describe these activities in one goes home safely at the end of the day.
a prescriptive manner unless required by legislation.
The Guild would like to acknowledge the generosity of Rob Tappert
The final drafts for each section will be available for review by the and Chloe Smith at Pacific Renaissance Spartacus for donations of
industry before publication. $10,000 in 2009 and $2,500 in 2010. These funds have been com-
If you would like to particpate in creating or reviewing the technical mitted to the Health, Safety and Environment Code project.
content of the Code relevant to your craft or activity, please contact
Survey points to safety concerns
Findings from a recent CTU survey on health and safety in the film • The largest occupational group of respondents belonged to the
and television sector support the timeliness of the current review NZ Film and Video Technicians’ Guild
of the industry’s Safety Code of Practice. Ross Teppett, National • The most significant work genres were film, TV drama and adver-
Education Officer at the NZ Amalgamated Engineering, Printing & tising – reflecting the large amount of ‘cross over’ work carried
Manufacturing Union, summarises the results… out
The Council of Trade Unions (CTU) consulted widely with industry • Three-quarters of respondents have worked in the industry more
groups, including the Techos’ Guild, prior to launching the survey than 10 years, a quarter more than 20 years.
online in September and was impressed by the level of interest
• Two-thirds of respondents said health and safety briefings at
and willingness shown by industry groups and their personnel to
the start of a job were adequate only ‘sometimes’, with the same
participate in the development of the survey. The CTU noted that:
proportion saying production crew only ‘sometimes’ had effective
“By and large all industry stakeholders take a responsible approach
input into health and safety on jobs and productions
to health and safety and while there may be diverse opinions on how
• Among the risks faced by people working in the industry there
to achieve the best outcomes, there exists a broad consensus that
was a significant proportion who rated ‘very highly’ fatigue from
there is always room for improvements.”
excessive working hours
Although initial interest in the survey was high, participation was
• Nearly all respondents said health and safety was managed ef-
disappointingly low, with just 30 respondents. A major factor influ-
fectively only ‘sometimes’ on productions, and this was reflected
encing the low participation rate was a series of delays in getting the
in the results of identifying hazards, control plans, reporting of
survey up and running on the CTU’s website. Despite the low par-
accidents and injuries and dealing with issues and problems as
ticipation rates, the findings will prove useful for any review of safety
they arise.
practices in the industry. Key findings from the survey data were:
• Twenty one occupational groups were represented
• People classifying themselves as contractors were the largest
proportion of respondents (70%)16 | NZTECHO Summer 2010
IN FOCUS
Digging our way out of a Hobbit hole...
Techos’ Guild President Alun Bollinger shares some thoughts on recent headline-grabbing events.
Does it not strike anyone else as ironic that producers feel comfortable about bringing their certainly no skin off this National Government’s
we are being told collective agreements are projects here. Yet surely clearly defined working nose. Added to this, the Government avoided
not possible in the screen-production industry conditions would help make for more stable raising the amount of the Large Budget Produc-
because we work as contractors, yet every working arrangements. SPADA has claimed that tion Grant Scheme by attaching the additional
member of a crew gets handed an identical producers do stick by the agreement they cur- Government investment to a tourism promotional
piece of paper to sign? rently have with actors, The Pink Book. However, package.
Apart from a few HODs in the upper ranks of from our experience with The Blue Book, I know But how does the Employment Relations (Film
the crew, the only difference between indi- that some producers will happily alter conditions Production Work) Amendment Bill actually affect
vidual crew member’s contracts are in the dollar and sometimes present crew with contracts us as screen production workers? I can’t see
amounts each individual is to be paid; in every that stray well away from The Blue Book. And I that it affects us at all. We are already generally
other respect they are generally identical. Seems have to say it is often line producers servicing engaged as contractors, but there is an allow-
remarkably like a collective agreement to me, off-shore productions filming in NZ who happily ance in the law for anyone to be taken on as an
except of course we are not supposed to get flout The Blue Book conditions. How does that employee if that’s the arrangement which suits
together and agree on the agreement. signal stable working conditions to an off-shore both the worker and the producer.
producer? Everyone should read Tim Riley’s
We now have an amendment to the Employ- I have often said that there are many working in
piece, ‘The Shire Schism’ on page 22 of the
ment Relations Act, the Employment Relations this industry who would actually be better off as
latest On Film mag. As he points out, standard
(Film Production Work) Amendment Bill, which employees. We’re just not all cut out to run busi-
contracts could make everyone’s dealings with
covers film workers, or more particularly: ‘a nesses. Once upon a time I used to work both
each other much more straight forward.
person engaged in film production work as an as an employee (paying PAYE) and as a contrac-
actor, voice-over actor, stand-in, body double, The Equity/Hobbit ‘debate’ has been littered with tor (paying with-holding tax), depending on the
stunt performer, extra, singer, musician, dancer, half-truths, innuendo and media hype. It seemed nature of the job. Then, in 1992, I was told by
or entertainer,‘ or: ‘a person engaged in film that no party was particularly open or honest; the accountant on the feature film I was working
production work in any other capacity.‘ However making it difficult to know what was actually go- on that I had to pay with-holding tax, that I was
this ‘does not apply if the person is a party to, ing on behind the scenes. effectively a contractor and not an employee. At
or covered by, a written employment agreement The Techos’ Guild exec decided very early on the time I presumed that was just for that par-
that provides that the person is an employee’. So that another voice would be counter-productive. ticular job, but I was wrong in that presumption. I
there is an out-clause. Although it seemed clear that many techos still do not know where that directive came from,
I presume the aim of the amendment is to were against the actors’ stance for fear that it but I’m inclined to presume it was a deliberate
eliminate the possibility of collective bargain- might threaten their livelihoods, there were still push from producers.
ing, but I can’t quite see how it works. SPADA, many differing points of view among the techo So, 18 years or so ago a ‘convention’ was
supported by statements from Gerry Brownlee community. The Guild’s exec had no desire to established that film workers are contractors,
and the Auditor General and Sir Peter Jackson, take sides in an industrial dispute that we were and despite film workers and actors effectively
claimed it was illegal for producers to negotiate dangerously uninformed about. Please note having no input into this decision, this ‘conven-
with the actors’ union and that was before the that we were involved in conversations behind tion‘ has now become law. Of course this ar-
Warner Bros. executives visited. So why was the scenes encouraging dialogue between the rangement suits most of us fine, but many of us
the law amended? And note the amendment: parties. could do with some lessons on how best to run
‘excludes work performed, or services provided, Why were The Hobbit producers unable to meet our business affairs, so over the next few edi-
in respect of the production of any programme with the actors’ reps? I can only imagine the tions of NZTECHO we’ll be sharing employment,
intended initially for broadcast on television’. pressure Sir Peter was under from his L.Alien financial and tax advice from your peers, as well
In other words, it is still possible and legal for producers. I’m guessing that they would have as relevant experts.
SPADA and Equity/MEAA to sort out terms and been pleased to have an excuse to review their I sincerely hope that this dispute does not sour
conditions for screen actors in this country. options with the possibility of getting a better working relationships within our little industry.
It seems that Equity and SPADA are now talk- bang-for-their-buck. Whatever went down We’re all in this together. Now that The Hobbit
ing, finally, which is great. I hope they can work behind the scenes it seems to have back-fired hoo-ha has settled down we should all shake
through their differences and find a constructive on the actors. hands and get on with whatever job is at hand.
way forward. That said, I was saddened to read Although our Prime Minister has taken a lot of
SPADA’s response to Equity’s recent letter of flak for allowing foreign interests to dictate NZ
explanation. Such a defensive stance is not employment law and also lever more money out
going to help on-going relations between the of our Government, I think John Key was rather
parties. clever in the way he worked these changes. I im-
Various people have stated the need for agine local and foreign producers alike lobbied
stable work arrangements to ensure off-shore for the changes to the employment law that areYou can also read
