Director, Storyboard Artist
David Gunson has dozens of screen credits in a role that requires both vision, and anonymity: as a storyboard artist, who draws pictures of key shots as a guide for the filmmaking team. Gunson’s own credits as a short filmmaker often touch on war: from ANZAC Short Film award-winner Boots, to the self-funded, Tropfest-nominated Foreign Fields. Gunson has also helmed music clips for Darcy Clay and Hayley Westenra.
In the universe of the film, things should be either true or new. True, in that they're an authentic or visceral world, or new, in placing the audience outside of their experience and expectations. Filmmakers ought to serve up a combination of the true and the new to keep the audience on their toes. David Gunson
Invited to compete in short film contest Tropfest NZ in 2015, Foreign Fields trains its eye on a Kiwi soldier in World War I, after he is wounded in no man's land. Shot in moody mud and khaki tones, David Gunson's film is a tribute to all who have fought in foreign lands. The self-funded short — which comes with a twist in the tail — was filmed for $3000, in just one and a half days.
London-based jazz saxophonist Nathan Haines returns home to perform with the New Zealand Symphony Orchestra, where he's accompanied by his bassist father, Kevin, and guitarist brother, Joel in a musical family reunion. They've followed different paths since the mid-80s when Nathan was 14 and they used to play as a trio (seen here in archive footage). The NZSO concert features standards and new songs from the brothers. This documentary backgrounds those songs, and follows the tricky business of melding jazz group and orchestra in rehearsal and concert.
This raw and rowdy video gives a fleeting insight into the all-too-short life of Darcy Clay. Recorded on a primitive four-track tape machine, 'Jesus I Was Evil' was a demented fusion of country and garage rock that, combined with Clay's fetching Evel Knievel-style onesies, heralded the arrival of an eccentric new voice. Darcy's school friend David Gunson agreed to shoot the video for a few hundred dollars and a bottle of whisky — editor Ian Bennett ended up getting the whisky. The wry humour and energy captured in the video stands as a fitting testament to his subject.