Posts by Peter Cox
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It's not exactly clear, but SAG seem to be suggesting they only got the recommendation today?? Or maybe they're just saying they're only rescinding the no work order today, but might have gotten the recommendation earlier? Interesting wording.
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I was there too and we DID NOT vote to boycott.
Sigh ... they didn't need to. The boycott was already in place.
Yeah, he (at least) is aware of that. My quote is a bit out of context from the rest of what's being discussed in that thread. Like I said, it's worth a read though.
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Was Whipp actually even in the country though? I don't think so.
No idea, just reporting back what I read:
GH:
The "ok well it seems to disagree" anonymous-
I was there too and we DID NOT vote to boycott. That clause (3 from memory) was shouted down despite Simon trying to get it back in a couple of times.
We voted to have a cup of tea, I voted for that, everyone bar one voted for that.
Now I re-read it though, I think he's talking about the shouting down of clause 3 (to do with dubbing) rather than a boycott vote. I assume he's talking about Simon Whipp though, and not some other Simon.
I thought that thread was quite an interesting read though:
http://www.voxy.co.nz/national/hobbit-equity-found-alive-and-well/5/67378
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This is an intresting alert... Seems to me if it does move to Ireland actors will still not be able to work on it untill a contract is written in NZ (unless they change the name of the production..)
The Irish Actors will enter into a collective agreement, and then the no work order will be lifted.
And if SAG do remove the alert if it moves off shore arnt they endorsing what is it 'run away' productions?
Pretty much. But that's the rule.
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Oh, I see, the thread has moved: just to bring my post back from the other thread. Sorry for interrupting the flow, but, at Russell's request:
I could see the next generation of those involved on all sides lobbying the government to follow Ireland's example for allowing collective contracts in order to be part of the global film industry.
This is exactly what the New Zealand Writer's Guild had (past tense?) literally set as the high priority focus for the next two years. So you can imagine my reaction to all this...
RB:
Shit -- really? Could do you do me a favour and expand on this topic in the discussion for this morning's new post on the debacle? I'm really interested.
Well, it's hard to talk about because it's something we've been working on with our international unions. All writer's unions around the world except for the US and Canada work in a very similar system to us, complete with pink books type stuff, recommended rates etc.
So we've been having some discussions about what to do about that.
Basically, the lobbying aspect would just be common sense stuff: various ways of gaining public support and then some political will out of that, because you need to make the govt think there's some significant votes in it for them, or at least losing some significant votes if they don't do it. Obviously, I can't go into the specifics of those strategies though, but they were being worked on.Some general political good will doesn't hurt either if you can phrase your arguments so it fits in with their specific political ideologies.
Funny thing was I literally got back from the International Writer's Guild meetings in Ireland, put my bags down, turned on the TV and saw John Barnett on Closeup taking about it, and thought WTF is this?!
And that's basically the phrase I've been repeating to myself ever since.
By the way, thanks Russell for your work on this. The one criticism I have on this post, is about the way the Auckland/Wellington meetings were conducted. I don't think you can take one report as gospel truth on it. I've heard mixed reports on this: some, from Mick Rose, and Geoff Houtman are floating about the internet. They paint variously different pictures on things. Geoff even suggests at one point 'Simon Whipp' brought up the issue of AE voting on the boycott itself and was shouted down (?!). I've also been told that the statement itself was only two pages long and he did finish it, etc, etc. I have no idea on the truth of it all myself. Just saying, I don't think anyone can be really sure that didn't attend and see for themselves. I wish I'd gone myself. No idea if they would have let me in though.
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Shit -- really? Could do you do me a favour and expand on this topic in the discussion for this morning's new post on the debacle? I'm really interested.
Well, it's hard to talk about because it's something we've been working on with our international unions. All writer's unions around the world except for the US and Canada work in a very similar system to us, complete with pink books type stuff, recommended rates etc.
So we've been having some discussions about what to do about that.
Basically, the lobbying aspect would just be common sense stuff: various ways of gaining public support and then some political will out of that, because you need to make the govt think there's some significant votes in it for them, or at least losing some significant votes if they don't do it. Obviously, I can't go into the specifics of those strategies though, but they were being worked on.
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"I'd call it a win for global unionism, and after the local film industry has stagnated for a decade or so with regard to international productions, I could see the next generation of those involved on all sides lobbying the government to follow Ireland's example for allowing collective contracts in order to be part of the global film industry."
This is exactly what the New Zealand Writer's Guild had (past tense?) literally set as the high priority focus for the next two years. So you can imagine my reaction to all this...
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Great open letter here from Holly Shanahan:
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Interesting. I'd note that he says in his original statement:
I've been told that Disney are no longer bring movies to Australia because of their frustration with the MEAA.
So I wonder who told him that? Safe bet it was the Studio of course...