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Double Whammy From Uncle Sammy Means…

All the American Guilds (DGA, IATSE, WGA, SAG-AFTRA, and The Teamsters), together with the Motion Picture Association of America (made up of the major studios and streamers like Walt Disney Studios, Netflix, Paramount Pictures, Prime Video &โ€ฆ
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Happy, Sad or Bittersweet?

Film researcher Stephen Followsโ€™ latest piece of work examines the endings of films to see if the โ€˜Hollywood Endingโ€™ still rules the day. What he found is that there are three types of ending: Happy, Sad and Bittersweet. It got me thinkingโ€ฆ
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When Is a Levy Not a Levy?

Electioneering is in full swing as we head towards November. It was just eight weeks ago that Reuben Davidson, Labour Spokesperson for Broadcasting, Media and Creative Economy, stood in front of the New Zealand screen industry at the Bigโ€ฆ
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Career Spotlight: Peter Roberts ANZSE

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After half a century in the film and television industry, Peter has worked across drama, documentary, news, sport, music, commercials, corporates, theatricals, and broadcast. Despite all of the technical and exhibition changes over the years,โ€ฆ
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How’s Theatrical Doing?

The New Zealand International Film Festival kicked off last night with the screening of Big Girls Donโ€™t Cry, directed by Paloma Schneiderman. A very accomplished and cinematic execution by a first-time feature filmmaker. The programme hasโ€ฆ
Read more
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Different Pathways

The Big Screen Symposium has run its course for another year. This time around, it had an emphasis on local content makers on the big and small screen, with micro-budget productions getting a good share of the limelight. I moderated a sessionโ€ฆ
Read more
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Documenting Winners

Last night I attended the Doc Edge Awards 2026, which recognised the best New Zealand and international documentaries submitted to the fest, along with some special awards for contributions to documentary. Chief among those was the Raye Freedmanโ€ฆ
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Work Opportunities

Every once in awhile we get contacted at the guild by producers or other individuals wanting recommendations for directors, editors or assistant editors. And I can tell you, we do get contacted about Hollywood projects as well. To be fairโ€ฆ
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View from the Top banner

Double Whammy From Uncle Sammy Means…

All the American Guilds (DGA, IATSE, WGA, SAG-AFTRA, and The Teamsters), together with the Motion Picture Association of America (made up of the major studios and streamers like Walt Disney Studios, Netflix, Paramount Pictures, Prime Video &โ€ฆ
Read more
View from the Top banner

Happy, Sad or Bittersweet?

Film researcher Stephen Followsโ€™ latest piece of work examines the endings of films to see if the โ€˜Hollywood Endingโ€™ still rules the day. What he found is that there are three types of ending: Happy, Sad and Bittersweet. It got me thinkingโ€ฆ
Read more
View from the Top banner

When Is a Levy Not a Levy?

Electioneering is in full swing as we head towards November. It was just eight weeks ago that Reuben Davidson, Labour Spokesperson for Broadcasting, Media and Creative Economy, stood in front of the New Zealand screen industry at the Bigโ€ฆ
Read more

Career Spotlight: Peter Roberts ANZSE

,
After half a century in the film and television industry, Peter has worked across drama, documentary, news, sport, music, commercials, corporates, theatricals, and broadcast. Despite all of the technical and exhibition changes over the years,โ€ฆ
Read more
View from the Top banner

How’s Theatrical Doing?

The New Zealand International Film Festival kicked off last night with the screening of Big Girls Donโ€™t Cry, directed by Paloma Schneiderman. A very accomplished and cinematic execution by a first-time feature filmmaker. The programme hasโ€ฆ
Read more
View from the Top banner

Different Pathways

The Big Screen Symposium has run its course for another year. This time around, it had an emphasis on local content makers on the big and small screen, with micro-budget productions getting a good share of the limelight. I moderated a sessionโ€ฆ
Read more

ANZSE Career Spotlights

Read about the illustrious careers of ANZSE-accredited editors.

Career Spotlight: Peter Roberts ANZSE

,
After half a century in the film and television industry, Peter has worked across drama, documentary, news, sport, music, commercials, corporates, theatricals, and broadcast. Despite all of the technical and exhibition changes over the years,โ€ฆ
Read more

Career Spotlight: Jonno Woodford-Robinson ANZSE

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Jonno Woodford-Robinsonโ€™s career as an editor is a testament to versatility, rhythm, and a deep understanding of storytelling across genres. From blockbuster VFX spectacles to intimate indie dramas and documentaries, his work combines technicalโ€ฆ
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Editor Jesse Dixon: How I Got Started in the Industry

I didnโ€™t always want to be an editor. I loved film and the moving image, but I was put off by the big crews and the โ€œart by committeeโ€ feel of it all. Like many artsy teens, I thought I was a revolutionary artist with something profoundโ€ฆ
Read more

Director & Editor Jack Woon: How I Got Started in the Industry

I made my first film when I was about 8. I hijacked my dadโ€™s chonky Hi-8 home video camera, hit record, stopped, then hit record again. I could make people vanish! In my first year of high school, I made a Star Wars parody about the ozoneโ€ฆ
Read more

Director Justin Scott: How I Got Started in the Industry

I remember being asked in university what I wanted my career to be. Many of my peers were saying Director, Producer or DOP- my answer was Production Assistant (I think I was a bit realistic about what opportunities were available to me leavingโ€ฆ
Read more

Editor Francis Glenday: How I Got Started in the Industry

My earliest, real childhood memory is being about 3 years old. Iโ€™m sitting in front of an electric heater, one of the old fireplace-mounted ones. It has two bright orange electric resistors. In my left hand, I have a toy; a silver metal cowboyโ€ฆ
Read more

Director Hweiling Ow: How I Got Started in the Industry

A forty-five-second short horror film, garnering 16 million views online, propelled me into a dream I didnโ€™t know I desired. Life is a game of random chances. You put in the work and hope the universe aligns. For me, the creative professionsโ€ฆ
Read more

Editor Cushla Dillon: How I Got Started in the Industry

When I started back in 1986 (my first official job was as Directorโ€™s assistant on โ€˜Starlight Hotelโ€™) the only โ€˜filmmakingโ€™ courses in NZ were a Masters in Broadcasting at the University of Auckland and a newly established Broadcastingโ€ฆ
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A Kลrero With…

In this guest blog series, we speak to screen professionals to find out more about their job and what most people might not know, including those working in the industry. This blog offers an inside look into different parts of the industry and offers insights into how directors and editors can be successful in the collaborative process of their mahi.

A Kลrero with Music Supervisor Aminรฉ Ramer

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The A Kลrero withโ€ฆ blog series is back for 2026! This time, DEGANZโ€™s Izzi spoke with Music Supervisor Aminรฉ Ramer to hear all the ways music plays its part in screen productions. An award-winning music supervisor and consultant, Aminรฉโ€ฆ
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A Kลrero with Animation Studio Mukpuddy

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As a follow-up to this year's Animation Matchmaking series, DEGANZ's Izzi Hoskyn sat down with Ryan Cooper and Alex Leighton, two-thirds of the team leading Mukpuddy Ltd. Mukpuddy originated from humble beginnings in 2002, starting in a basementโ€ฆ
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A Kลrero with Director of Photography Simon Raby NZCS

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For this iteration of DEGANZ's new blog series, A Kลrero With..., Izzi Hoskyn spoke with Director of Photography Simon Raby NZCS. Simon is a freelance Director/Cinematographer with 45 years of industry experience. He works largely in featureโ€ฆ
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A Kลrero with Colourist Damian McDonnell

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DEGANZโ€™s Izzi Hoskyn sat down with award-winning Colourist Damian McDonnell to take a peek behind the curtain of the craft of colour grading. Damian has over twenty yearsโ€™ experience as a colourist and editor in both Hollywood and Aotearoa.โ€ฆ
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Editor Jesse Dixon: How I Got Started in the Industry

I didnโ€™t always want to be an editor. I loved film and the moving image, but I was put off by the big crews and the โ€œart by committeeโ€ feel of it all. Like many artsy teens, I thought I was a revolutionary artist with something profoundโ€ฆ
Read more

Director & Editor Jack Woon: How I Got Started in the Industry

I made my first film when I was about 8. I hijacked my dadโ€™s chonky Hi-8 home video camera, hit record, stopped, then hit record again. I could make people vanish! In my first year of high school, I made a Star Wars parody about the ozoneโ€ฆ
Read more

Director Justin Scott: How I Got Started in the Industry

I remember being asked in university what I wanted my career to be. Many of my peers were saying Director, Producer or DOP- my answer was Production Assistant (I think I was a bit realistic about what opportunities were available to me leavingโ€ฆ
Read more

Editor Francis Glenday: How I Got Started in the Industry

My earliest, real childhood memory is being about 3 years old. Iโ€™m sitting in front of an electric heater, one of the old fireplace-mounted ones. It has two bright orange electric resistors. In my left hand, I have a toy; a silver metal cowboyโ€ฆ
Read more

Director Hweiling Ow: How I Got Started in the Industry

A forty-five-second short horror film, garnering 16 million views online, propelled me into a dream I didnโ€™t know I desired. Life is a game of random chances. You put in the work and hope the universe aligns. For me, the creative professionsโ€ฆ
Read more

Editor Cushla Dillon: How I Got Started in the Industry

When I started back in 1986 (my first official job was as Directorโ€™s assistant on โ€˜Starlight Hotelโ€™) the only โ€˜filmmakingโ€™ courses in NZ were a Masters in Broadcasting at the University of Auckland and a newly established Broadcastingโ€ฆ
Read more

How I Got Started in the Industry

In this guest blog series, our members reflect on how they made their way into assistant editing, editing, and directingโ€”with no two stories the same. They offer advice for those starting out.

Editor Jesse Dixon: How I Got Started in the Industry

I didnโ€™t always want to be an editor. I loved film and the moving image, but I was put off by the big crews and the โ€œart by committeeโ€ feel of it all. Like many artsy teens, I thought I was a revolutionary artist with something profoundโ€ฆ
Read more

Director & Editor Jack Woon: How I Got Started in the Industry

I made my first film when I was about 8. I hijacked my dadโ€™s chonky Hi-8 home video camera, hit record, stopped, then hit record again. I could make people vanish! In my first year of high school, I made a Star Wars parody about the ozoneโ€ฆ
Read more

Director Justin Scott: How I Got Started in the Industry

I remember being asked in university what I wanted my career to be. Many of my peers were saying Director, Producer or DOP- my answer was Production Assistant (I think I was a bit realistic about what opportunities were available to me leavingโ€ฆ
Read more

Editor Francis Glenday: How I Got Started in the Industry

My earliest, real childhood memory is being about 3 years old. Iโ€™m sitting in front of an electric heater, one of the old fireplace-mounted ones. It has two bright orange electric resistors. In my left hand, I have a toy; a silver metal cowboyโ€ฆ
Read more

Director Hweiling Ow: How I Got Started in the Industry

A forty-five-second short horror film, garnering 16 million views online, propelled me into a dream I didnโ€™t know I desired. Life is a game of random chances. You put in the work and hope the universe aligns. For me, the creative professionsโ€ฆ
Read more

Editor Cushla Dillon: How I Got Started in the Industry

When I started back in 1986 (my first official job was as Directorโ€™s assistant on โ€˜Starlight Hotelโ€™) the only โ€˜filmmakingโ€™ courses in NZ were a Masters in Broadcasting at the University of Auckland and a newly established Broadcastingโ€ฆ
Read more

Editor Jesse Dixon: How I Got Started in the Industry

I didnโ€™t always want to be an editor. I loved film and the moving image, but I was put off by the big crews and the โ€œart by committeeโ€ feel of it all. Like many artsy teens, I thought I was a revolutionary artist with something profoundโ€ฆ
Read more

Director & Editor Jack Woon: How I Got Started in the Industry

I made my first film when I was about 8. I hijacked my dadโ€™s chonky Hi-8 home video camera, hit record, stopped, then hit record again. I could make people vanish! In my first year of high school, I made a Star Wars parody about the ozoneโ€ฆ
Read more

Director Justin Scott: How I Got Started in the Industry

I remember being asked in university what I wanted my career to be. Many of my peers were saying Director, Producer or DOP- my answer was Production Assistant (I think I was a bit realistic about what opportunities were available to me leavingโ€ฆ
Read more

Editor Francis Glenday: How I Got Started in the Industry

My earliest, real childhood memory is being about 3 years old. Iโ€™m sitting in front of an electric heater, one of the old fireplace-mounted ones. It has two bright orange electric resistors. In my left hand, I have a toy; a silver metal cowboyโ€ฆ
Read more

Director Hweiling Ow: How I Got Started in the Industry

A forty-five-second short horror film, garnering 16 million views online, propelled me into a dream I didnโ€™t know I desired. Life is a game of random chances. You put in the work and hope the universe aligns. For me, the creative professionsโ€ฆ
Read more

Editor Cushla Dillon: How I Got Started in the Industry

When I started back in 1986 (my first official job was as Directorโ€™s assistant on โ€˜Starlight Hotelโ€™) the only โ€˜filmmakingโ€™ courses in NZ were a Masters in Broadcasting at the University of Auckland and a newly established Broadcastingโ€ฆ
Read more