Time for Change: Why NZ Needs a Dedicated Film Attractions Agency

Opinion by Brian Kassler.

The New Zealand film industry stands at a crossroads. With the government looking seriously at a merger of the New Zealand Film Commission and NZ On Air. Some even say Screen New Zealand is a done deal.

You’d have to think that this is the perfect opportunity to remove the overseas film attractions department from the NZFC and establish it as a standalone entity with its own corporate structure, complete with some seriously good governance, an independent chairperson and a board that represents this part of the sector. It could be modelled on the highly effective Ausfilm in Australia (as an aside, check out the NZFC’s attractions website).

Some would argue that we don’t really need another ‘industry organisation’. I’d argue yes we do, as this is the biggest and very valuable part of the NZ Screen Industry. It is totally underrepresented.

Some would argue that overseas line productions push crew rates up. I’d say yes, they do to a degree. However, there are more than enough skilled crew members available to work on Kiwi productions for the rates being offered. Additionally, much of the infrastructure, equipment, and support industries, would simply not exist here without international productions coming. Remember that suppliers have millions of dollars of capital invested in their equipment etc. and achieving returns on that investment is just not possible from only local productions.

This move isn’t just about restructuring; it’s about maximising economic benefits. The NZFC currently receives $1.5 million in funding from the Ministry of Business and Innovation (MBIE) for attractions work. The new entity could see its government funding gradually decrease over three years to $1 million, encouraging a transition toward a more sustainable model and a further step in getting out from under the government apron strings and paying our own way in the so-called $3 billion industry.

As it establishes itself, the entity could allow industry professionals and businesses to contribute through membership fees, fostering a more sustainable and industry-driven approach. This structure would also ensure that the organisation remains focused solely on attracting and supporting international productions, rather than being entangled in the broader mandates of Screen New Zealand.

One of the biggest challenges facing the screen industry is maintaining a sustainable workflow. Having an organisation that is answerable to its membership and that can manoeuvre and adapt quickly is far better for the industry than relying on a bureaucratic entity that lacks direct accountability to the people it serves.

A dedicated film attractions entity would not only bring productions here, but also support them once they are in NZ. It would provide ongoing assistance—checking in on productions, troubleshooting issues, and serving as a consistent point of contact. The example of Amazon pulling Lord of the Rings after just one season highlights the need for better systems to ensure productions stay in NZ long-term.

Having a dedicated organisation to address production concerns, assist with local logistics, and work alongside international partners would also make New Zealand a more attractive destination for ongoing film and television projects.

Comparisons with Ausfilm strengthen the case for change. Ausfilm has successfully positioned Australia as a premier destination for international productions through a focused and independent approach. It acts as a single, strong voice advocating for Australia’s film industry, helping to secure major productions and ensuring their success within the country. By following this model, we can create a more effective pipeline to attract projects, ensuring that both large-scale film productions and long-running TV series choose to base themselves here.

One of Ausfilm’s key advantages is its dedicated office in Los Angeles. By maintaining a physical presence in Hollywood, Ausfilm builds and maintains direct relationships with major studios, Producers, and Financiers, ensuring that Australia remains top of mind when productions are out looking.

Being on the ground in Los Angeles allows Ausfilm representatives to attend key industry events, hold in-person meetings at short notice, and actively promote Australia’s incentives, locations, and infrastructure in real-time. From what I am told, this constant engagement helps – a lot.

New Zealand lacks this level of direct engagement. The NZFC does promote New Zealand internationally, but without a permanent office in a key market like LA, there is a missed opportunity to build stronger industry relationships and actively court productions as they are being planned. If a standalone New Zealand film attractions entity were to follow Ausfilm’s lead by establishing a presence in Los Angeles, it could vastly improve a sustainable workflow, which is one of the biggest issues the NZ Screen Industry has. We need a solid pipeline of work coming here.

Longer TV series, in particular, provide more opportunities for local cast and crew, as seen with the recent overseas-funded Spartacus revival, which was helmed by two New Zealand Directors. Increased international collaboration would open doors for New Zealand talent, not just in front of the camera but also in technical and creative roles.

David Seymour this week argued that New Zealand Actors and Directors should take key roles in international productions. We’d say they already are – to a degree. While this is an important ambition, as we know, it depends heavily on the specifics of each project and its financing structure. However, increasing the number of productions based in New Zealand would naturally create more opportunities for local talent to be involved at higher levels. Supporting international productions does not just mean bringing them here; it also means integrating New Zealand talent into key roles to ensure long-term career development within the industry. This is something that the new attractions entity could do in conjunction with the guilds.

There was a time when all key crew were brought in to work on overseas productions and, in the late 70’s early 80’s, even some local productions. Now we have actors, directors and other key crew working in key positions and on big productions all over the world. Why? Because they are at the top of their game. I’m sure, given the chance, they’d love to be working on these productions here in NZ, though. Handled correctly, and with some planning, that can be easily achieved.

Having an independent group also makes lobbying the government more straightforward. It’s difficult for the NZFC to do so, and SPADA shows little interest in supporting overseas line productions, apart from small sound bites, and their battling with the streamers certainly doesn’t help.

Ultimately, the success of the NZ Screen Industry depends on long-term planning and industry leadership. We must now evolve to meet the demands of an increasingly competitive global market. By taking this step, we can strengthen our position as a world-class filmmaking destination while creating a more stable and sustainable industry workflow for the future.

How can we make this happen? All it takes is a small group of line producers and suppliers to get together, write a 2-page submission to MCH and if it’s considered, start a serious undertaking to make it happen. It’s not that hard to get it right and again we don’t have to look far to see a model that works.

And if you want to see what Ausfilm’s monthly newsletter looks like, here’s the one that landed in my inbox this morning.