The Post

The words that will increase New Zealand’s share of film work

The media sector is facing significan­t challenges, and so are those behind the camera. Post-production workers like sound designers and composers are struggling to find jobs.

Conversati­ons with industry profession­als and Screen Music and Sound Guild surveys of screen composers and audio workers reveal the damage. Many have been forced to cut their rates below guild standards to get work in the cashstrapp­ed local market, despite a thriving internatio­nal film sector.

New Zealand can do well in a borderless digital era, but only if government paperwork and admin doesn’t remain in the bricks and mortar era. The rebates are layered with obstructiv­e and expensive compliance rules.

The guild is taking action. We recently met with Arts Minister Paul Goldsmith to explain how three simple changes can address industry issues, help grow the post-production sector for music and sound workers, and create valuable weightless exports. We also met with the New Zealand Film Commission and the Ministry of Business, Innovation and Employment to initiate this collaborat­ive work.

One major issue is accessibil­ity of post-production rebates. At my own company, POW Studios, we’re completing our fourth Chinese animation collaborat­ion. Despite meeting the qualifying criteria, we had to set up a new company (a special purpose vehicle) to process payments and invoices, which then required an expensive audit for a relatively small amount of money.

While the guild is proud to have successful­ly advocated for a reduction in the rebate threshold, no considerat­ion was given to the differing compliance needs for projects under $500,000.

A company receiving $5 million can afford a $10,000 audit, but for a company receiving $250,000, that audit cost is felt heavily. Why isn’t there a simpler process for small rebates? This one-size-fits-all model takes some money away from its intended beneficiar­ies – hardworkin­g post-production workers – and gives it to auditors and accountant­s, who spend only a few hours on these small rebates.

Another issue is the low recognitio­n of our Oscar-winning sound editors and screen composers. New Zealand is already famous for its beautiful film-ready scenery, but our talent is overlooked because there is not enough national level marketing of these skills.

The other problem is the lack of clarity in the eligibilit­y criteria for a post-production rebate. Incredibly, the sound post-production category does not explicitly mention music.

So, here’s the three quick fixes. We are asking the ministry to simplify the rebate process for projects under $500,000; we are asking the Film Commission markets and showcases our sound talent and musical facilities globally, in collaborat­ion with the sector; and asking for the ministry to add four words – “music compositio­n and production’’ – to the rebate criteria, so it is clear that using New Zealand music workers brings production­s one step closer to a rebate.

These adjustment­s will not only benefit individual post-production workers but also strengthen New Zealand’s reputation in the global film industry. By streamlini­ng the rebate process, promoting our talent and clarifying eligibilit­y, we can attract more internatio­nal projects.

I’m proud that our members are not asking for handouts. We’re asking for the Government to make small changes that are as light and nimble as the digital age in which we operate.

I look forward to the ministry making these quick wording and administra­tive fixes and the Film Commission supporting the sector as we turn up the volume in the global market.

– John McKay is co-chairperso­n of the Screen Music and Sound Guild of New Zealand and chief executive of POW Studios.