INDUSTRY THE VIEW FROM...
New Zealand has built world-class production infrastructure over several decades, from major studio facilities and sound stages through to visual effects and post-production. Companies like Wētā FX and Wētā Workshop are internationally recognised, and between them have supported global productions including The Jungle Book , The Avengers and Dune . Auckland, Wellington and Queenstown serve as the principal production hubs in the country. Auckland offers scale, studio infrastructure and a large base of crew and suppliers, while Wellington is internationally recognised for its concentration of expertise across visual effects, post-production, sound and design. Queenstown and the wider South Island combine experienced production support with some of the world’s most dramatic and varied landscapes. New Zealand is also increasingly attractive to productions looking for post-production, digital and visual effects (PDV) support, regardless of where principal photography takes place. “Our PDV sector has contributed to some of the world’s most technically sophisticated screen projects,” says Mossman, “giving international producers access to expertise without needing to base an entire production in NZ.” Value for money is another important consideration, and Mossman admits that favourable exchange rates stretch production budgets further, while NZ’s compact geography allows productions to access an extraordinary variety of locations without significant travel. “Within a relatively small footprint, filmmakers can move between major cities, coastlines, alpine environments, forests and farmland, helping maximise both schedules and budgets.” LOOKING AHEAD Gardiner acknowledges that the reason people started to pay attention to NZ is due to the likes of Peter Jackson, Jane Campion and Taika Waititi. “There are other places in the world you can go, but there’s a sense of magic that a country this size, at the edge of the world, turns out these incredible filmmakers,” she says. “So, I think focusing on enabling
spend, the scheme supports everything from independent and mid-budget productions through to large-scale international projects. Post-production, digital and visual effects projects also qualify under dedicated settings.” Those changes made to the rebate earlier this year have created optimism about the types of productions now considering NZ. “Alongside the studio productions and returning production partners we’re already known for, we’re seeing greater interest from independent and mid-budget productions,” says Mossman. “That broadens the range of opportunities available to the industry and creates new pathways for creative and commercial collaboration.” FILMMAKERS CAN MOVE between cities , forests AND farmland ”
and industries. Local storytelling has continued to evolve and filmmakers continue to tell stories rooted in NZ. Two feature films have also recently premiered at Sundance ( Big Girls Don’t Cry and Mum, I’m Alien Pregnant ), helping to further cement NZ’s place on the global stage. “We have a Whakapapa – a Māori genealogy of filmmakers, who have heavily relied on doing things in a particular way,” says Gardiner. “It’s part of the cultural heritage and mystique of NZ and what makes us the types of filmmakers that we are. There’s not pressure for us to make our films more international. Making culturally specific films that are globally resonant is what makes the best cinema.” KIWI REBATES The country also offers attractive rebates for productions. International productions can access the New Zealand Screen Production Rebate, which provides a 20% cash rebate on qualifying NZ production expenditure, with a further 5% uplift available for projects over NZ$20m. “The 5% uplift test has recently been revised to be more streamlined, with very positive feedback from productions,” says Mossman. “With feature films qualifying [at] a threshold of NZ$4m (US$2.3m) in eligible NZ
THE LONG TAIL Jane Campion’s The Power of the Dog was largely filmed in rural New Zealand
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