What Jonathan said.
Look, you want to change the way this whole industry runs, then fine. But you do it in conference with your fellow unions and by working collaboratively together. Issuing threats doesn't help anyone.
It may be back breaking work, but a leading hand at AFFCO in Fielding would at least be able to feed his family, pay a few bills and buy a playstation 3 for the kids and a pair of shoes for his wife.
Right, this has forced me to delurk, briefly.
I didn't work King Kong but a fair few friends did in the lighting department.
One cleaned and maintained lights, production line style, almost monotonous - take bulb out, wipe lens, put bulb in again. In 2005, she was paid $25 per hour. A good deal more than she was getting for load in and outs of corporate gigs that required more back breaking work (I used to pay stage managers that rate for events).
Another friend worked on practicals. (from Facebook)
When I was doing Practicals on King Kong it was $300 a day plus overtime. So, more like 50K a year for two years. Maybe as high as 70K with busy times.
It's not peanuts.
This isn't a job he would've got had Kong been shot elsewhere. He's one of over 2000 contractors. That's who loses if these jobs move off shore. That's a lot of money not being spent in the New Zealand economy in the supermarket, petrol station, rent, food etc.
I'm sorry to get so angry, but my friends jobs are at stake. They aren't management, they aren't wealthy, they're workers.
I despise him.
*sigh* Well then there's nothing I can say or show that will ever satisfy you.
can you point me to any finished ANZ film that has been fully finanically backed by Peter Jackson?
Sorry, Islander, I keep missing the point of your argument - exactly what would Peter Jackson fully funding a film (when he doesn't even do that for his own films) prove for you?
Time and time again on this thread, you have already been given examples of how Peter Jackson has supported the local industry. I really don't understand what your beef is.
And, if filming goes offshore, the pre-& post-production stuff doesnt, right?
Not necessarily, if production moves to Ireland I imagine Framestore VFX will be putting a in a bid, as everything else will already be there.
Until the Equity meeting was cancelled
Islander, you seem to be mixing up what Peter Jackson can do with the role of the NZ Film Commission (whose website I would call the first "port of call" for looking at NZ film on catalogue) or, for that matter, what distributors do (something that directors don't have any control over).
As Jonathan King has already said, Jackson's indirect support comes in the form of continual investment into world class production and post-production facilities offered at "mates rates" to local producers - I'm pretty sure that "essentially matters" to a lot of filmmakers.
Ah the FT are being a touch reductive - Putnam in his actual article states that these issues tend to only exist in the short to medium term.
Oh no! Damn respectable jobs for redactful agencies!
Thank you so much for your awesome posts, for being the voice I could relate to (and thanks for introducing Sepia Mutiny into my world) and, well, making the political sphere at home not feel so isolating.