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a zigzaggy background with a colourful hand holding a phone with an IRD speech bubble and an orange arm putting down a phone with a suspicious speech bubble
When someone purporting to be IRD calls, would you pick up the phone?

SocietyMarch 3, 2025

IRD is learning the hard way what scams have done to trust

a zigzaggy background with a colourful hand holding a phone with an IRD speech bubble and an orange arm putting down a phone with a suspicious speech bubble
When someone purporting to be IRD calls, would you pick up the phone?

Inland Revenue has called thousands of New Zealanders in the past week in an effort to raise awareness about its new security system. Unfortunately, many people think it’s a scam. Shanti Mathias explains.

There’s a page on the IRD website that keeps an ongoing list of scams impersonating the government’s tax arm. Fake emails about tax policy; false IRD application websites; email scams saying there are new messages in the My IR system; emails about the cost of living payment. That’s just the list from 2024

Not included is recent concern over phone calls from IRD made to thousands of New Zealanders, informing them of an update to the online system that requires two-factor authentication (2FA), which links people’s IRD accounts to another form of contacting them in order to improve security. That’s because, of course, the calls are legitimate. 

“When I answered, they identified themselves as calling on behalf of the IRD – I was like, yeah right,” said Stephen, who received a call last week from a New Zealand number he didn’t recognise. After he raised his concerns, the person on the phone told him that if he was suspicious, the information could be sent to his MyIRD inbox, which showed that the message was legitimate. “Overall I thought it was a strange way to contact people as it looked and sounded like a scam. I don’t think it’s the most effective way to run the 2FA project, especially as it’s mandatory.”

hand above a phone showing a safety alert
Scams make it harder to trust each other (Photo: Getty Images)

Of the 34,000 calls IRD has made to clients informing them of the 2FA changes so far, four official complaints about the form of communication have been received by IRD. Other recipients have told staff of their concerns the calls were a scam. In a statement, IRD said that protecting customers was the reason for the change. “We are not asking people to click on a link to get to their accounts to make the necessary changes. We’re also not asking for credit card or bank account details and we won’t be asking people to pay anything,” said an IRD spokesperson in a comment. 

“Scams are transforming our capacity to trust the institutions we rely on,” said Ruairi O’Shea, an investigative writer at Consumer NZ. “The prevalence of scams has made it increasingly difficult for organisations to communicate with their customers and for consumers to confidently engage with legitimate communications.” Large-scale frauds enabled by the internet don’t just take people’s money; they also steal people’s trust

Given the reality of fraud, IRD’s two factor authentication system is good for clients: it will make it harder for people to have their IRD accounts taken over by those with ill intent. While the 2FA authentication is slowly being rolled out for everyone, you don’t have to wait for a call or message in MyIRD to install it – you can initiate it yourself

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The main way that IRD or other legitimate institutions can assuage suspicious clients or customers is to get them to get in touch directly. For IRD this mostly looks like sending people messages through the IRD online message system; in the case of other institutions, you might have to call a bank directly, pay a toll road fee through the official government website or contact a courier company by email. 

The National Cyber Security Centre, a branch of the GCSB dedicated to protecting New Zealand’s cyber security, said that it often received messages about scams impersonating government departments on its incident reporting form. In fact, the cybersecurity centre itself has been targeted; its incident reporting page currently has a banner notifying users of a scam call coming from their hotline. “Sometimes these are legitimate calls but they get reported because the receiver wasn’t expecting them, or they did not recognise the number. We advise New Zealanders to err on the side of caution and verify that the caller is from the organisation they claim to be,” said NCSC threat and incident response team lead Tom Roberts.

The prevalence of scams means it is important for all organisations to follow best practice when contacting customers. Sending links in text messages, a frequent tactic used by scammers, is a big red flag, O’Shea said. “Instead, people should be encouraged to log in to their app or navigate directly to a website so they know and trust they’re in the right place.” 

While this advice is helpful for individuals and institutions, it can be difficult to follow. Scammers take their money, after all, by being effective impersonators of official communications. When you’re busy or distracted, doing detective work on a seemingly innocuous email or call isn’t high on the priority list. 

“Unfortunately, everyone needs to keep their wits about them and have a healthy level of suspicion to ensure they aren’t scammed,” O’Shea said. “If you are contacted by an organisation about something that sets off alarm bells, put the phone down and do some digging yourself.

Keep going!
photo of a woman in a red dress sitting on a bed with children playing around her
Teuila field – pacfic profiles. photo by Geoffery Matautia.

SocietyMarch 1, 2025

Pacific profiles: Meet Teuila Field, first assistant director on Tinā, East of Eden and Sweet Tooth

photo of a woman in a red dress sitting on a bed with children playing around her
Teuila field – pacfic profiles. photo by Geoffery Matautia.

The Pacific profiles series shines a light on Pacific people in Aotearoa doing interesting and important work in their communities, as nominated by members of the public. Today, Teuila Field.

All photos by Geoffery Matautia.

Teuila Field (Sāmoan/Pākehā) has a decade of experience working as first assistant director (1st AD) on many well-known TV shows and films, including the recently released Tinā. She considers herself to be a creative facilitator who holds the vā between the crew so that they can do their jobs. Usually the mum of three is based in the Auckland suburb of Mt Albert, but at the time of our interview she’s between home and Central Otago, where she’s working on Netflix’s East of Eden. Teuila discussed how she got started in the industry, how she holds the vā on set and her timeless advice for young hopefuls entering the industry.

photo of woman in a red dress holding a baby with two other small children. bookshelf behind them

Talofa Teuila! Could you please tell me a little bit about who you are and where you grew up?

Talofa! I was born in Wellington. My dad’s Palagi, and my mum’s Samoan from the villages of Neiafu and Vaisala in Savai’i. We moved to Mt Albert, Auckland, when I was four. That’s where I’m based now with my family. It’s nice to be back in the old stomping ground. 

Before we discuss your work as the 1st AD on Tinā, could you describe what the role entails for those who mightn’t know?

There’s a whole department of assistant directors working under the director.

As the 1st AD, I take the script and break it down scene by scene. What is the set? Is this shot in a studio or on location? What time of day is it? Which of the cast are in it? What background extras do we need to make this feel real? What art department requirements are there? What animals or special effects might be required? Are you looking for stunts? If there’s an intimate scene, do you need an intimacy coordinator? Ultimately, what are all the elements needed to bring that page to life. 

Film and TV is a constantly moving thing. One of my mentors, Liz Tan, always said that our job is like trying to do a jigsaw with jelly. When it comes to shooting, it’s the 1st AD’s responsibility to make the day. You’re trying to jam-pack as much as you can into a 10-hour shooting day while also making sure you’ve got enough time to achieve that schedule. 

Is it hard to strike that balance between the creative needs and the practical realities of filming?

It’s interesting because I don’t consider myself a creative, but a creative facilitator. I see it as holding the vā the space between for the director, and the actors, but also between the crew to do their jobs. It’s hard to explain the vā in a western sense but that’s how I see it. Ultimately, we all just want to do a good job and get home safely to our families.

It’s a lot of responsibility! Is this something you’ve always wanted to do?

I very much fell into the film industry. My mum’s a teacher, and my dad’s a journalist, so I was never going to do an office job. After post-grad, I fell into the film industry as a runner. I had just quit my job at a non-profit right in the middle of the 2008 global financial crisis, and I remember being in the bathroom in tears thinking oh my god, what have I done?

I started as a runner on TV commercials, and from there, I went along to a women and film and television event and met all these amazing people. One of them was Moeroa Hobbs, a 1st AD at Shortland Street, and she said, “Look, if you want to come and check it out and see what it’s like, here’s my email address.” I contacted her, and she let me come to the set, and I just sat and watched for two days. The 2nd AD went on holiday for two months, and they asked me to cover for her. I will for ever be grateful to Moeroa for extending that offer. Some people go to film school and study it, and others fall into it. 

woman in red jumpsuit standing in hallway

What do you enjoy most about the role?

What I love about it is the people that I get to work with. I love the storytelling. I love being able to help creatives tell the story that they want to tell. I love the project-based nature of it, too. What I love about working in film is that you’ve got this project that you’re working on and you’re doing all this creative problem solving all the time. I like being in that role helping the director get the beautiful shots that they need. 

For Tinā, helping tell a Samoan story was just so soul-filling. Sometimes there’s more value than just the dollar value of a project. New Zealand projects can never compete financially with big American projects that shoot here. But for me, I was very excited to work with the director, Miki Magasiva, and the star, Anapela Polataivao. It was my first Samoan film job, so I was very excited to work with the team. 

You said being a 1st AD is like trying to make a puzzle from jelly. Can you recall any moments from Tinā that you felt were a real challenge?

It always comes down to budget. Every department’s budget is crunched, and so is everyone’s time. Everything’s always feeling like it’s running late. But you just have to trust the process and know that it will all come together. But also, as the 1st AD, you have to be the messenger and voice any concerns from the crew. The great thing about Tinā was that Miki also wrote it. If we were backed into a corner on the day, we could have a conversation about changing it. For example, there was a scene originally written as a night scene but we had location restrictions, so he was able to quickly rewrite it to be set in the daytime. 

I also think it’s important not to compromise too early. You want to hold onto the vision until the last minute and preserve the integrity of the story.  

woman sitting on a bed in red jumpsuit - child lying down behind her

What were the standout moments when you reflect on working on Tinā?

For me, it was the cast read-through, which happens before we even start shooting. The whole room was in tears. It was like nothing I’d ever experienced before. It was so beautiful. It just felt like we were working on something very, very special. And you know, on set, it got to the point where somebody would cry most days. I just grew to not watch the monitor when it was Anapela’s close-ups. I was pregnant at the time too, so it was all coming out [laughs].

You’re a mum of three young kids. How do you juggle parenting with the intensity of film and TV productions?

Funnily enough, all my three babies have jobs attached to them. So when I was pregnant with my firstborn, I was working on Ash vs Evil Dead, which is kind of a slasher comedy. And then, with my second, I was working on Mulan, which was fun and amazing. And with my third, I was on Tinā. He was lucky to be around all those Samoan hymns. 

It can be really long hours! You have to love working in the film industry to do it because you’re working 10 to 12-hour days and it’s contract-based. There are the highs and lows of having an income and then suddenly not being employed. I can only manage this work because of my partner, my family and my very supportive friends who understand that I just disappear for a little while and then I’ll come back. I’ve come to learn that I have a different work-life balance to the nine-to-fivers. It’s kind of all skewed towards work for a while and then I come out, it’s more skewed towards a life where I need to do the school run and the ballet run and the swimming and soccer runs…

On those long days do you have any little rituals or things that keep you going?

We’re very well looked after on set because of those long hours. We have all of our meals provided and there’s no shortage of food and coffee. I always have two black coffees first up, and then I try to just sip on some herbal tea and water for the rest of the day. I know I’m getting really tired on the job when the hash browns start coming into the breakfast plate.

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What advice would you share with someone interested in the 1st AD role, or even just getting started on set?

Take your time, keep trying to get your foot in the door, and do whatever job is available. I started as a runner, and that was a valuable experience to learn what different departments do. Time on set is the best teacher. Be prepared to do any job in the first instance, work hard, and be kind and respectful. It’s a very small industry in New Zealand, and you never know who’s connected to who. The person who’s a runner or PA on your first job might become your producer on the next. Just be nice to people. Is that too wishy-washy to say?

I think it’s timeless advice! You can never go wrong with being kind to people.

And don’t be in too much of a rush. I see young people trying to be at the top of their game, or getting too fixated on being in a top role immediately. Do your time and trust the process. I spent a long time as a 2nd AD and that experience has been useful in understanding all the challenges that different parts of the crew experience. That’s what I loved about working with Miki. He started out working in every department. Because he came from the bottom up and worked his way through, he had an inherent understanding and respect for everybody’s roles. That filters down through the crew, and they feel that. And I think that’s what contributed to the beautiful vibe that we had on set.

woman in red jumpsuit on a bed with three children playing around her

This is Public Interest Journalism funded by NZ On Air.