This is the argument that is currently being put forth regarding the Weeded Out screenplay: that I, as a writer-director, have a social responsibility to tell a story that is non-confrontational, pleasant and allows all my trans 'allies' to feel seen, even though it's actually a story about my life in the underground. This, incidentally, is why I refused. Perhaps if the NZ Film Commission had given me a million bucks, I might feel a sense of social obligation, but they didn't write or develop that script.
As far as I'm concerned, I did my civic duty by writing that script, and their unwillingness to purchase the script, rewrite it with their own songs and find their own queen is why the script hasn't gone into production. -
If you make films that you finance yourself, then there is no social contract because it's a purely creative act. If you make films that are financed by a studio or other group, then there's usually a profit incentive. For example, Victoria University of Wellington produces documentaries on a fairly regular basis. These may be not-for-profit enterprises, but their clear intention is to make films that make the lecturers, or the uni, look good. That's a profit incentive because they aren't a non-profit organisation. Stealing a quote from BusinessDesk (too cheap to buy a subscription) from early 2024: 'It's worth noting that one of the most profitable areas for universities lies outside teaching and research. Non-core activities such as student accommodation, hospitality and consultancy made up 55% of the sector's $146m surplus in the past five years. So, indeed, their attempts to make my film are absolutely to do with the lack of international students and their pending bankruptcy. Their philosophy doesn't jibe with my 100% fees-free education for domestic students policy, so there's also a political element regarding why I've refused the 'generous' offer to be a drag queen for bigots. If they had any sense of social responsibility, they'd accept that my Dakumentary was more than sufficient. It humanised druggies, told people very clearly what my sexual and gender orientations are, plus it made Chloe look really good. - As a journalist, however, obviously I have a social responsibility. That's why I made all those documentaries. My brother and I weren't really intending to become journos, but the Fresh Culture documentaries were really fun to make. Then, on the back of those, I got sucked into media intelligence and editing. -
As an activist, it's slightly trickier. I mean, obviously sustained activism isn't really dependent on public support, so a lot of the time you're the loner with a placard mouthing off about something that nobody else gives a shit about. I'd say activism requires a social licence, but doesn't inherently come with a sense of social responsibility. Lobbying should have an element of social responsibility imo, as that's directly interfacing with politicians to alter the system, and we tend to prize fairness in arguments of that nature. AMPP's manifesto is pretty much my view on the social responsibility of government, and I'm attempting to live by those rules in terms of how I approach the political sphere. Tactically, though, I love thumbing my nose at people!
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