The History - Act II
The History - Act Two
Moving into the 1990s Judy Callingham CNZM takes us thorough to 1994. Judy is a renowned New Zealand scriptwriter,television presenter and journalist. Since the 1970s, Judy has worked onnumerous television dramas including Close to Home, Gloss and The Billy T JamesShow.
Act Two: 1990 - 1994 By Judy Callingham (abridged)
In 1990, the National Office of the NZWG moved to Auckland. The Guild had always existed pretty much hand to mouth. In 1990, only a handful of members remained, and some of them hadn’t paid their subs in years…
We ran a seminar in the conference centre at Auckland University… From a balance of near zero, we suddenly had over $20,000 in the bank. We also had an influx of new members. It wasn’t long before membership was into three figures again. And along with these members came a new burst of energy and determination…
The independent producerswere as united as ever in refusing to recognise the Guild… Amini-breakthrough came when we persuaded SPP to come to the table where wesuccessfully argued for a change to their proposed contract for ShortlandStreet dialogue writers. It was small, but it was significant. For the firsttime since the demise of our agreement with TVNZ, the Guild was acknowledged asa negotiating body for writers.
It seemed like a goldentime for writers. For a short period, we had not one, but two soaps and along-running series on air. Writers were not only employed but in short supply.One night a week, you could watch two-and-a-half hours of New Zealand drama backto back –Shortland Street, Homeward Bound, and then straight on to Marlin Bay.In the early ‘90s, the Guild became more active internationally…
At the (International Affiliation of Writers Guilds) meeting in New York in 1992, the NZWG president, was invited to join the IAWG Policy and Research Group. This international connection is of immense value to the New Zealand guild. The IAWG is a powerful body…
Ouroverseas affiliates were appalled by the Employment Contracts Act that brokethe power of the unions. So appalled, in fact, that they contributed money toenable our Executive Director, Philippa Boyens, to work for the Guildfull-time. Our newly full-time ED helped the NZWG to grow in many directions.The script registration service was established, Malcolm Black provided legaladvice for both the Guild and its members, seminars and craft evenings offeredtraining and fresh ideas to writers…
Act Two: 1990 - 1994 By Judy Callingham (abridged)
In 1990, the National Office of the NZWG moved to Auckland. The Guild had always existed pretty much hand to mouth. In 1990, only a handful of members remained, and some of them hadn’t paid their subs in years…
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The History - Act Two
Moving into the 1990s Judy Callingham CNZM takes us thorough to 1994. Judy is a renowned New Zealand scriptwriter,television presenter and journalist. Since the 1970s, Judy has worked onnumerous television dramas including Close to Home, Gloss and The Billy T JamesShow.
Act Two: 1990 - 1994 By Judy Callingham (abridged)
In 1990, the National Office of the NZWG moved to Auckland. The Guild had always existed pretty much hand to mouth. In 1990, only a handful of members remained, and some of them hadn’t paid their subs in years…
We ran a seminar in the conference centre at Auckland University… From a balance of near zero, we suddenly had over $20,000 in the bank. We also had an influx of new members. It wasn’t long before membership was into three figures again. And along with these members came a new burst of energy and determination…
The independent producerswere as united as ever in refusing to recognise the Guild… Amini-breakthrough came when we persuaded SPP to come to the table where wesuccessfully argued for a change to their proposed contract for ShortlandStreet dialogue writers. It was small, but it was significant. For the firsttime since the demise of our agreement with TVNZ, the Guild was acknowledged asa negotiating body for writers.
It seemed like a goldentime for writers. For a short period, we had not one, but two soaps and along-running series on air. Writers were not only employed but in short supply.One night a week, you could watch two-and-a-half hours of New Zealand drama backto back –Shortland Street, Homeward Bound, and then straight on to Marlin Bay.In the early ‘90s, the Guild became more active internationally…
At the (International Affiliation of Writers Guilds) meeting in New York in 1992, the NZWG president, was invited to join the IAWG Policy and Research Group. This international connection is of immense value to the New Zealand guild. The IAWG is a powerful body…
Ouroverseas affiliates were appalled by the Employment Contracts Act that brokethe power of the unions. So appalled, in fact, that they contributed money toenable our Executive Director, Philippa Boyens, to work for the Guildfull-time. Our newly full-time ED helped the NZWG to grow in many directions.The script registration service was established, Malcolm Black provided legaladvice for both the Guild and its members, seminars and craft evenings offeredtraining and fresh ideas to writers…
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