Member Spotlight: Nic Widfeldt
From Invercargill to London and back to Aotearoa, Nic reflects on sound, strong crew culture, and why looking after each other matters on set.
Published on:
March 4, 2026
Now based in Wellington, Nic built his career in the sound department and runs Swede As Audio, working across film, television and commercial productions in Aotearoa.
What was your very first job on set and what/who inspired you to start working in film?
After finishing my Bachelor of Audio Production and continuing studying film/animation at Southland Institute of Technology in Invercargill, an opportunity arose to be a sound intern on the feature film Two Little Boys under Ken Saville. And it was at this point I found my home and family in the sound department. It was swiftly followed by me dropping out of my postgraduate degree, packing my bags and moving to Wellington, where I’m still residing today (for what it’s worth: I still miss Jimmy’s Pies).
What keeps you passionate about working in film?
The people - it’s the perfect community of the most creative and eccentric. Whether it’s the most straightforward day on set or 25+ crew holding down a crane in extreme gale force winds, together we achieve what most punters question is a real job.
As for sound, what truly excites me is the problem solving. Each day, each scene, each take all comes with its specific challenges, and when we find creativity in our technical role there is a certain satisfaction.
How does working in Aotearoa compare to other places you’ve worked?
While living in London it never stopped to amaze me the reputation that automatically came with being “kiwi film crew”: we are renowned for digging in and getting it done, helping each other and treating everyone on set as equal. I like to think this is true and that most overseas actors and crew find this mentality a positive experience when they come here.
What’s one thing you wish every crew member knew about the Guild?
Other than community, I find it crucial that we have a united voice. While in the UK I did see the power of unions, but there they are also diluted into several departments and occasionally counteractive against one another. Here the Guild has continued to develop and emphasise the balance, speaking for all crew, not just a few.
And in my mind, and the reason for my support, the Blue Book is the foundation for a healthy industry.
If you weren’t in film, what would you be doing instead?
I always thought I was going to be a first responder of some sort. But I couldn’t be a firefighter, because fire is far too hot for my liking. I’m not a big fan of blood, so paramedic was out of the question. And I doubt I’d be a good cop, as I don’t particularly like confrontation. In conclusion: my first dream job was to be a hot dog vendor, so probably that.
How do you think the NZ screen industry could better support crew?
Full support of a standardised contract will go a long way to create clarity and certainty. The Screen Guild’s, and other associated guilds’, hard mahi towards getting this across the line is looking promising, but then it’s about truly using it to create a balance. Other than that, I wish to see healthier funding schemes, both nationally and locally, to truly support local content.
What’s one skill or habit that helps you get through long shoot days?
When I practise contortionism, aka boom operating, I wish I could say stretching, yoga, or pilates. Unfortunately I’m not quite consistent, but it has saved me on numerous occasions when my body has given me warning signs. So I’ll instead say: listen to your body. Whether that is mental or physical, take the time to care for yourself (and your fellow crew where possible). “We are only making movies” and we all wanna go home in one piece at the end of the day.
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