THE VIEW FROM... INDUSTRY
time since 2016, local NZ films collectively grossed more than $10m. “The appetite for our local films seems to be increasing,” adds Gardiner. “I feel like we’re doing the same as a lot of [other] countries around the world, except for the fact that we are unlike any other country in the world. We’re English-speaking, but very isolated.” Gardiner points out that the country is constantly being compared to Australia, but with a population of 5.3 million people, compared with Australia’s 28 million, and with NZ’s landmass being equivalent to just 3.5% of Australia’s total, it is a completely different beast. Despite being neighbours, the landscapes are also vastly different. For a number of years, NZ was largely associated with a small number of landmark productions and extraordinary landscapes. “Like every screen territory, we’re operating in a competitive environment,” says Mossman. “Financing is tighter, productions are scrutinising budgets closely and countries are working harder than ever to differentiate themselves. Success is not simply about offering attractive locations or incentives. Producers want confidence that a destination can deliver creatively, technically and commercially.” This is where NZ punches well above its weight. “We have decades of experience supporting complex productions, highly regarded facilities and businesses, and a reputation for finding practical solutions to creative challenges,” Mossman explains. “There is a professionalism and adaptability here that international producers consistently value.” Gardiner notes that NZFC is constantly looking outwards for lessons that it can learn from other national cinema
GOING FAR Global hits such as The Lord of the Rings trilogy (left) and Whale Rider (above) have put New Zealand’s film industry on the map, with its landscapes (below) a draw for productions
MĀORI STORYTELLING A long-time collaborator of Taika Waititi, Ainsley Gardiner has produced acclaimed films including Boy , Eagle vs Shark and The Breaker Upperers , as well as co-directing the 2021 film, Cousins . The culture of NZ film, Gardiner argues, has been born out of a huge amount of resourcefulness, entrepreneurialism and wide support. “Times are tough all over, though. Belts are tightening, budgets haven’t grown in decades and it’s hard to find finance. “One of the hard things for NZ is that we’re an English-language country, so most of our national cinema competes in the world with English-language cinema. For the most part, we just don’t have the budgets that a lot of our peers around the world have.” Despite this, last year NZ’s total box office reached a staggering $165m. Local films accounted for 6.4%, so for the first
facilities, accelerated skills development and supported the growth of globally recognised companies including Wētā Workshop and Wētā FX. “They proved the country could sustain filmmaking of extraordinary scale and complexity, creating an industry that continued to develop through King Kong , The Hobbit trilogy and major international productions that followed,” she says. Local filmmakers have been just as influential in shaping the character of NZ cinema. Lee Tamahori, Niki Caro and Taika Waititi have all played key roles in defining the industry. Back in 1993, Jane Campion also became the first woman to win the Palme d’Or at the Cannes Film Festival for The Piano . “From The Piano and Once Were Warriors to Whale Rider , Boy and Hunt for the Wilderpeople , their work spans intimate drama, sharp social commentary, Māori storytelling and distinctive comedy,” says Mossman. “There’s no single NZ filmmaking style, but there is a shared willingness to take creative risks.” The Avatar films marked another key moment, and James Cameron has built a relationship with the country spanning more than two decades. “He’s now an NZ citizen and has committed to continuing to make films here, reflecting a creative partnership that has deepened over many years,” says Mossman.
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