Last night I participated in the first of three sessions of the NZFC-supported Animation Matchmaking Series, put together by ourselves, the Visual Effects Guild and the Writers Guild.
One hundred and ten people turned out for the evening. Part of the event was for NZFC to talk about the He Kauahi Catalyst Fund and how it can be accessed for animation projects. Filmmakers also heard about how to put their best foot forward for both Catalyst and feature film development and production funding. The other part of the evening was dedicated to producers Fiona Copland and Angela Cudd speaking to their experiences of the animation projects they have worked on and are working on. The questions to all speakers were numerous. And humorous were some of the asides going on in the Chat.
What was reemphasised for me at the event was the absolute passion and thirst filmmakers have to make films. This is both a boon and a bane of our industry.
Without that absolute commitment, films don’t get made. It’s just so hard to do. And we see different expressions of it. From 48hours, which is about to start soon, to short filmmaking, microbudget features and beyond.
The film industry here and globally can’t survive without new generations of filmmakers willing to give their all to get their films made. And very few of them will be lucky enough to go on to have a career in filmmaking.
What filmmakers sacrifice can be worth it. But they often give up a lot.
Getting paid a fee for one. Or letting go of the IP they laboured over for weeks, months, years, and not getting properly financially rewarded for it. Then there’s their health: the stress. The emotional, psychological and or physical toll. The list goes on. It all mounts up.
Nearly all of us—me included—enter into this maelstrom of highs and lows in the hope that we will be one of the ones that crosses the finish line of this creative marathon. But none of us escape unscathed. That’s why safeguards are important.
ScreenSafe is one of them, from education and making it safer on set to providing support when it’s needed. There are now intimacy coordinators and mental health first aiders running courses and providing input, and assistance when screen workers need help with issues.
On a bigger picture scale, the Screen Industry Workers Act (SIWA) is a safeguard, too. It’s there to set baselines for terms, conditions and rates of pay to help prevent exploitation and make our industry work in a more professional manner, as do most other countries with well-developed screen sectors. This is why having collective agreements in place is so important for both above and below-the-line workers.
Passion can then rule in a safer screen environment for everyone.
Tui Ruwhiu
Executive Director
Last updated on 7 August 2025
