Annie Frear - sometimes credited as Ann Frear - works mainly as a grip, setting up and operating the equipment used to move the camera on the film set. Frear's early films included Alison Maclean's Talkback. She moved into features for two ambitious period pieces: Desperate Remedies and The Piano. Frear would later be promoted to grip co-ordinator on one of the longest shoots in film history, The Lord of the Rings trilogy.
Hands-on is the best training. Annie Frear
Monstrous spiders, dragon-aided epic battles, endangered hobbits and final farewells ... the finale of the Lord of the Rings trilogy boldly upped the ante. Although the first two films had excited viewers, critics and accountants, Return of the King sealed Peter Jackson's place in movie legend. Reviewers praised it with gusto and Return won a staggering 11 Oscars, a total matched only by Titanic and Ben-Hur. Return anointed a Hollywood empire in the Wellington suburb of Miramar; the box office figures weren't half bad, and nor was the effect on NZ tourism.
The second Lord of the Rings installment sees hobbit Frodo Baggins continuing his mission to destroy the ring. Meanwhile the Fellowship is breaking apart, and an epic night battle ensues at Helm's Deep. The film marked a star turn by Gollum, the emaciated Andy Serkis-voiced creature whose realisation was a cinema landmark and a triumph for the design and special effects team. Alongside praise for the film's pace and spectacle, The Two Towers broke international opening records, before going on to outgross Fellowship of the Ring, and win two technical Oscars.
The Fellowship of the Ring was the film that brought Peter Jackson's talents to a mass international audience. A year after its release, the first instalment of his adaptation of Tolkien's beloved tale of heroic hobbits was the seventh most successful film of all-time. Critic David Ansen (Newsweek) was one of many to praise the fan-appeasing Frodo-centric take, for its "high-flying risks: it wears its earnestness, and its heart, on its muddy, blood-streaking sleeve." At 2002's Academy Awards, Weta maestro Richard Taylor became the first Kiwi to win two Oscars on one night.
Lawless saw Kevin Smith in one of his biggest roles: as undercover cop turned private investigator John Lawless. The character's career arc was told across three tele-movies. In this self-titled debut, Lawless struggles with divided loyalties while working for a dodgy drug lord (Joel Tobeck). Next thing, a robbery leaves Lawless framed by the good guys. This stylish Kiwi take on American crime shows won good reviews and a stash of awards, including gongs for Tobeck, co-star Angela Dotchin, director Chris Martin-Jones and best drama programme.
This film is about the redemption of Jake the Muss. It picks up the story after Jake has turned his back on his family (his wife has left him to escape the violence) and is up to his usual tricks in McClutchy's Bar. After one of his sons dies suspiciously in a gang fight, another sets out to find revenge, accompanied by young gang member Tania (Nancy Brunning). Scripted by Alan Duff and directed by Ian Mune, the film was the second-highest-earning NZ film of the 1990s, (eclipsed only by Once Were Warriors). It scooped most of the categories at the 1999 NZ Film & TV Awards.
While beachcombing, April (Hester Joyce) discovers an injured man and claims him as her own. She must keep him a secret, and alive, in a makeshift community called Paradise. But Paradise is under threat and the other residents are slowly moving on. Fiercely protective of the broken man in her bed, April cannot leave, nor can she stay. For April there is nowhere to go but up. Directed by Niki Caro (Whale Rider), Sure To Rise competed for the Palme d’Or at the 1994 Cannes Film Festival. Producer Owen Hughes writes here about where the film's rise led its director.
Ada (Holly Hunter) has been mute since she was six. She travels from Scotland with her daughter (Anna Paquin) and her grand piano to colonial New Zealand, for an arranged marriage. When her husband, a stoic settler (Sam Neill) sells the piano to Baines (Harvey Keitel), Ada and Baines come to a secret agreement. She can win her piano back key by key by playing for him, as he acts out his desire for her. An especially big hit in Europe, Jane Campion's Oscar-winning tale of sexual emancipation in the bush is the only NZ film to have won the top award at the Cannes Film Festival.
Actor and casting legend Diana Rowan (who discovered both Anna Paquin and Keisha Castle-Hughes) turns her hand to writing and directing, with this darkly comic half-hour television drama based on an original story by Shonagh Koea. Veteran actor Helen Moulder (Fallout) gives a stand-out performance as a recently widowed woman, who arrives at a novel solution to well-meaning but hideous friends and family. The Wall is dedicated to director of photography Bayly Watson, who passed away soon after working on it.
Beneath her twinset, repressed housewife Gwyneth (Mandy McMullin) is close to the edge: of attacking the dishwasher, and giving in to lust (thanks to neighbour Kevin Smith). Especially after learning the husband has done the dirty on her. Based on a Fiona Farrell story, Mon Desir blends fantasy, satire and domestic tragedy. Writer/director Nicky Marshall scratches under the fingernails of Kiwi small towns, to reveal “what happens behind the facade of wholesome goodness and normality”. Mon Desir was chosen for the 'Un Certain Regard' section of the Cannes Film Festival.
Originally conceived as a TV series, Gaylene Preston's comedy was a local hit, uplifting recession-era audiences with a plucky misfits saga. Ruby (Yvonne Lawley), an 83 year old trying to dodge a retirement home, rents a room to Rata, a solo mum with sidelines in music and benefit fraud. Rata's son is into arson and shoplifting, while Ruby's nephew (What Now's Simon Barnett) is a hapless yuppie wannabe. Marginalised by the deregulated economy of the 80s and living on their wits, they may just find common cause despite themselves in this Graeme Tetley-penned tale.
A teenage boy's unorthodox relationship with his father (Wi Kuki Kaa) is explored as he learns about hypocrisy in this E Tipu e Rea edition, written by Bruce Stewart and starring Faifua Amiga as Thunderbox Junior. After establishing a reputation as a highly successful director of commercials, this was Lee (Once Were Warriors) Tamahori's first attempt at the helm of a longer drama. "You tend to get a bit of experience making people laugh when you direct commercials,' he said. "One thing I'm sure of is that people like to laugh at themselves."
In a nod to his theatre training, Whale Rider actor Rawiri Paratene (then better known as a presenter on Play School) unveils three stories to a marae audience. A bored schoolboy (Faifua Amiga) banters with a sarcastic teacher; a musical number features a prostitute (Rena Owen) and her client; and a young girl and her grandfather prepare and wait for the body of her father at the pā. This was the first screen drama directed by Don Selwyn, who argued "what Rawiri is saying in his script is that there are lots of things Māori which are left out of the education system."
A talkback radio operator (Lucy Sheehan) is forced to stand in for the regular host when he walks out because of a personal crisis. In between trying to answer calls, organize a replacement and discuss odd topics with a succession of callers, the flustered operator makes a surprising connection with another lost soul. Auckland's urban soul is captured with distinctive assurance in this neglected 48-minute drama from director Alison Maclean — who wrote the script with Geoff Chapple.