News

Many of you will have heard about the proposed 100% tariff on film and TV production conducted outside the United States, introduced by Jon Voight, recently appointed Special Ambassador to Hollywood.

Like much in the current US political landscape, the proposal is generating a great deal of disruption and uncertainty—neither of which is good for business.

Whether this becomes serious policy or remains a political gesture is yet to be seen. Voight’s broader plan to “Make Hollywood Great Again” includes sweeping tax reforms, new federal incentives, changes to co-production treaties, and investment in US infrastructure. But the proposed tariff is especially concerning for international partners like New Zealand.

Auckland, like many global production hubs, is already weathering a downturn. Further uncertainty—particularly from major markets like the US—risks compounding the pressure on our crews, talent and suppliers. While Los Angeles production has dropped nearly 40%, much of that work has shifted to other US states with strong incentives, such as Georgia and New York—not abroad. So the question remains: who is this tariff really targeting?

While concerning, this proposal is not yet policy. It's important we stay informed, measured and coordinated in our response—supporting our sector while avoiding knee-jerk reactions.

After a busy start to the year, permitting activity in Auckland has eased — a typical seasonal shift as we head into winter. Recent local productions include My Life is Murder S4, alongside other domestic series and TVCs, particularly around the waterfront zone. A few more projects are set to kick off in the coming months, such as Bust Up, Taskmaster, Ms X, The Sanctuary, Good Morning Mr Kopu and Brokenwood Mysteries S12, to name a few.

The international pipeline, however, remains worryingly thin. Heart of the Beast is wrapping, Evil Dead Burn is nearing a start in coming months, and The Legend of Zelda is scheduled for November. Chief of War S2 is still in the planning phase with dates yet to be locked in. On top of this, the recent U.S. political noise adds a layer of uncertainty. For now, most offshore interest appears to be pushing into late 2025.

Screen Auckland is preparing to review the Ngā Tikanga Hopu Whakaahua i te Rohe o Tāmaki Makaurau – Auckland Film Protocol, last updated in 2019. This document sets out the commitments, conditions, and guidelines for enabling filming across the region.

While the intent of the current protocol — to make Tāmaki Makaurau a film-friendly city — is widely supported, feedback highlights that inconsistent adherence and dated content have limited its effectiveness. The upcoming review offers a timely opportunity to realign the protocol with current industry realities, reduce red tape, and strengthen cross-agency support.

The review will begin by engaging Location Managers, whose frontline experience is critical to understanding how the protocol functions in practice. This will be followed by wider engagement with industry stakeholders, mana whenua, and the broader Auckland Council whānau.

Film Auckland is also continuing to work with Screen Auckland to engage with Council stakeholders to help ensure the screen sector’s needs are understood and supported at all levels.

If you'd like to share early feedback, please contact Matthew Horrocks (Screen Auckland Manager) or reach out via the Film Auckland team.

 You can find the current protocol here.

Screen Auckland — in partnership with Te Kawerau ā Maki, Te Puna Creative Quarter, and Climate Connect Aotearoa — is hosting the first Ki te Hoe workshop on 16 May, with nearly 40 RSVPs already in.

This cultural awareness course is tailored for screen professionals working on location in areas of cultural significance. Set in Te Kōpua (Henderson), and centred on Te Kawerau ā Maki ancestral sites, the session supports deeper understanding of whakapapa, tikanga, and filming protocols on taonga land.

This kaupapa is part of the wider Sites & Places of Significance work — a collaborative effort between Screen Auckland, mana whenua and the Industry Working Group (IWG) to develop practical, respectful approaches to filming on culturally significant sites.

This work underpins Screen Auckland’s Unitary Plan change request — prompted by the requirement for Resource Consent when filming on culturally significant land. The proposed change seeks clearer, more workable guidelines that reflect both industry needs and mana whenua values. 

🗓️ The final hearing for the Unitary Plan change is scheduled for 21 June at Auckland Council.

For more info, contact Marie Jenkins at Screen Auckland: marie.jenkins@aucklandnz.com

The team at Tataki Auckland Unlimited has asked us to share the following information with you. 

With Te Puna Creative Hub opening this month they would love industry input to shape its future direction.

"At the heart of Te Puna Creative Innovation Quarter, the hub is based at what used to be Whoa! Studios in Henderson. The goal is to create a world-class creative industries hub in west Auckland, centred around the existing infrastructure already in place out there: Auckland Film Studios, Corban Estate Arts Centre and the many screen industry businesses currently based in and around Keeling Road.

Te Puna Creative Hub currently offers a small studio, a multi-functional 159 seat digital theatre, an operational restaurant, a meeting room, as well as short or long-term office spaces for hire. Current tenants include Crescendo Trust and Click Studios.

The long-term plan is to extend the hub beyond this building, attracting other creative industry businesses to set up shop in the area in private and/or public partnerships. There are also opportunities for tertiary institutions and trainee programmes.

So far, the project has been financed through Tātaki Auckland Unlimited, with additional financing from the Auckland Council Māori Outcomes Fund. 

Funding has been secured for the next five years. Any additional budget allocations will be decided on a year-by-year basis by Council."

What we think, and what we ask for, will help shape the future of both our industry and Te Puna.

Te Puna Creative Hub is having an open studio on Wednesday, 14 May from 4-6.30pm, where you can learn more about what’s on offer and meet the people already making Te Puna Creative Hub home.

If you are interested in attending, please RSVP here.

If you have thoughts or ideas about the development of the area, you can contact Delwyn Corin (Principal Advisor, Te Puna Creative Innovation Quarter, Tātaki Auckland Unlimited) on delwyn.corin@aucklandnz.com.

As Amber Wakefield prepares to step down from the role in the coming months, Film Auckland is seeking a passionate and driven individual to take on the Executive Officer (EO) position. This is a unique leadership opportunity for someone with a strong understanding of the screen sector who wants to contribute to shaping the future of our industry in Tāmaki Makaurau.

The EO plays a vital role in stakeholder engagement, advocacy, and supporting screen-friendly outcomes across Auckland. The role is part-time, freelance-friendly, with an estimated 20–40 hours per month, offering full flexibility to work remotely around other commitments.

Key responsibilities include general management, membership administration, communication with stakeholders, event coordination, and some light bookkeeping.

If you’re passionate about the screen industry and interested in learning more or expressing your interest, please reach out to us at chair@filmauckland.com.

Auckland Council is undergoing a significant review of its CCOs, a process that could impact how the screen sector is supported.

Film Auckland has been actively engaging with Council leadership—including the Mayor, the CEO of Council, the CEO of Tātaki Auckland Unlimited, and the Council Transition Director—to ensure the screen industry’s needs remain a priority.

Here is the current positioning of Screen Auckland within the council umbrella:

Here’s what we know so far:

• Economic Development and Creative Industries (where Screen Auckland currently sits) is expected to be brought in-house at Council.
  
• Screen Auckland will remain under Tātaki Auckland Unlimited.
  
• The final reporting structure is still being determined, but indications are that Screen Auckland will be in a stronger, more effective position.
  

We see this as a shift with potential benefits—one that could provide the structural support the industry has long called for. As the transition unfolds, we’ll continue to advocate for improved facilitation, permitting processes, and strategic outcomes for the sector.

Earlier this month, we hosted a meeting with guild representatives, Producers, Line Producers, and Location Managers to provide an industry update, particularly in light of Auckland Council’s review of its Council-Controlled Organisations (CCOs).

The discussion naturally evolved into a robust exchange about current challenges facing productions in Auckland and how we can work together to improve conditions for the industry.

Key discussion points included:

• Screen Auckland’s Role & Industry Support – Ensuring it is positioned in a way that allows it to effectively serve the needs of the screen sector.
• Permitting & Facilitation – A focus on streamlining processes to better enable production rather than create unnecessary hurdles.
• Industry Visibility & Advocacy – Strengthening communication and engagement within Council to highlight the sector’s economic and cultural value.
• Cultural Change – Encouraging a more film-friendly mindset within Council to support local and international productions.
• Bylaws & Compliance – Addressing inefficiencies and creating clearer, more effective pathways for permitting and approvals.

This was an important opportunity to bring industry voices together and advocate for meaningful change. These discussions will continue as we work towards stronger outcomes.

The Ministry for Culture & Heritage’s (MCH) Media Review will play a crucial role in shaping the future of local content funding and streaming regulations. Given the timing, Film Auckland was unable to conduct a full consultation with our Auckland membership for a standalone submission. However, we have endorsed SPADA’s submission, which presents a strong, industry-wide perspective—particularly on regulating streaming platforms and ensuring a sustainable model for local productions.

In addition to this, many of our Board members submitted individual responses, contributing their expertise on key issues. We hope you also took the opportunity to provide feedback and help shape the future of our industry.

The review also explored a potential merger of NZFC and NZ On Air, a major proposal that could redefine how content is funded and supported in New Zealand. While industry views on this vary, the key priority is ensuring that any structural changes strengthen the sector rather than focus solely on cost-cutting.

As the media landscape shifts and local broadcasters face increasing challenges, the review raises important questions about the long-term sustainability of New Zealand content. We’ll continue to track developments and share updates as they emerge.

Last week, we met with Pam Ford and Delwyn Corin, co-leads of Te Puna Creative Hub in Henderson. There has been curiosity (and some confusion!) around Te Puna—its purpose, its funding, and how it might serve the industry.

Pam and Delwyn are keen to connect directly with the screen sector and share their vision. We’ve asked for written materials that we’ll circulate soon, and we’ll support their outreach by sharing key information with our networks. This is a great opportunity for industry professionals to engage early and help shape what this space could offer. More to come soon.