Belinda Bradley on New Zealand’s ‘Universally Personal’ Creative Culture
Film Construction has been a home for New Zealand filmmakers for the past 25 years.
Since 1996, the company has worked on everything from TVCs to documentaries. Learning how to develop and adapt when switching from short to long form content, they are constantly looking for new ways to work within a rapidly moving industry.
Belinda Bradley was previously a stylist, vocalist and photographer. And today, she has found herself working alongside her husband, Perry Bradley, as a partner and executive producer at Film Construction.
Together they have worked with directors such as Tom Wilson, Chris Clark, Sam Kelly, Harriet Maire, and Ayla Amano on countless projects.
Having an ultra-creative background in various fields has given Belinda a different perspective on the advertising and production industry within New Zealand. Here, she shares her passion for her home and the creativity that makes it unbelievably special, giving insight into trends, challenges and what she believes the future holds.
LBB> Do you believe New Zealand has a point of view that is unique to the country? If so, what is it?
Belinda> In New Zealand, the best creative is personal to the New Zealand audience. That work could only be made here. Our best stories are uniquely Kiwi, even retail work. Scorsese said something like, 'The more personal the story, the more universal the appeal.'
By weaving their personal experience into their work, our creatives produce work that resonates. I like to think our ads aren’t just about selling and that brands are keen to own some of our Kiwi essence.
I love the diversity we are seeing in both print and moving image work. Gone are the days of clients asking for diverse casting and then choosing good-looking white people! We are seeing a rich tapestry of cast in our advertising that looks like New Zealand does, which is wonderfully eclectic.
LBB> What do you love about the industry, and what challenges you?
Belinda> What do I love about our industry? The impressive, creative, vibrant, and enthusiastic people we get to collaborate with. As a production company, we are lucky to see the inside of a lot of agencies and to meet a wide range of creatives. We have some very smart and inspiring individuals, thinkers and strategists. And the incredible technicians we work with. Shoot days are generally joyous!
Challenges? Like any industry, challenges exist. The platforms keep changing, and consumer behaviour keeps changing. We can’t sit still - we have to be perpetual students.
We're always talking about new techniques, new equipment. And new platforms to screen our work. We love all the different deliverables and tools needed.
We are craft people, and big formats, big cameras, and cool tech get us excited. So, when asked to shoot specifically for TikTok, it was a head spin, but you know what? Turns out we love that, too.
LBB> What trends do you find to be specific to New Zealand?
Belinda> Whenever I arrive home at Auckland airport, I’m greeted by the sound of native birds playing and the sound of Te Reo - the Maori language. I know that I’m home. It is no surprise, then, that NZ advertising heavily features environmental issues and Maori culture.
Sustainability in our processes is important here too. Our Ad Net Zero program, spearheaded by the Commercial Communications Council, is a big step towards the ad industry's commitment to climate action.
LBB> How have you seen the industry grow, and where do you believe the industry will be in the future?
Belinda> The road ahead will be like a crazy paving pathway, a mix of different shapes and sizes all fitting together.
After a fantastic 25 years representing Film Directors, we've added a brilliant roster of photographers, too. And guess what else? One of our fine art photographers is an AI artist as well. So, we’re always looking for ways to work with agencies and clients. Film, photography, content for linear or streaming, and online platforms. We’re hungry for it all. We need to be agile and inventive.
