Harry Sinclair first won fame as a member of beloved 80s multimedia duo The Front Lawn; whose shorts included Walkshort, Linda's Body and The Lounge Bar. Starting with Topless Women Talk about Their Lives, the first of three features exploring 'modern love', Sinclair displayed his talent for offbeat humour and improvisation, and his belief in the creative importance of the actor.
Harry Sinclair’s naturalistic style is totally engaging, and places gutsy human emotions against droll situations and the odd cute touch here and there. Australian critic Louise Keller, in a 1997 review of movie Topless Women Talk about their Lives
The third feature from writer/director Harry Sinclair (The Price of Milk, Topless Women ...) is a fleet footed anti-romance about sex and infidelity. Love is a game for Ben (Dean O’Gorman), who cheats on girlfriend Emily with ease — until he falls head over heels with unpredictable vixen Chlo (Kate Elliott). When Emily confesses that she too has cheated, Ben self-righteously dumps her and runs to Chlo. But Chlo has a rule: she won’t date available men. To win her love, Ben must be unavailable. This excerpt features much bed hopping and 20-something mat-ters.
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.
Lucinda (Danielle Cormack) lives a fairytale life with dairy farmer Rob (Karl Urban), and his 117 cows. But after a freak car accident she decides to test Rob's love for her by trying to make him angry. He passes her tests until a quilt goes missing from their bed; the price of getting it back is high. Harry Sinclair's follow-up to Topless Women Talk about their Lives is quirky and romantic, but not especially fantastical — yet it won a trio of awards at specialist fantasy film festivals overseas. The fulsome soundtrack is performed by the Moscow Symphony Orchestra.
A group of 20-somethings revolving around pregnant Liz (Danielle Cormack) confront a Generation X medley of 'births, deaths, and marriages' in Harry Sinclair’s debut feature, developed from the eponymous TV3 series. They experience, "the agony of failed love and ambiguous love, the agony of loneliness, the ecstasy of sex and the discovery of maturity" (Australian critic Andrew L Urban). In this excerpt from the well-received film the cast faces vexing coathangers, skirts, rubber gloves and panic attacks. NSFW caution: features actual Teutonic topless women.
In the second episode of Harry Sinclair’s late night TV3 micro-series, Liz (Danielle Cormack) and Neil (Joel Tobeck) watch the sun rise from a Karangahape road carpark; but, romantic as this could be, it seems Neil has no more chance of keeping up with Liz than her less than inspiring boyfriend Ant (Ian Hughes). Meanwhile, back at home, Ant is making scones and entertaining some random visitors — larger than life drag queens (and K Road identities) Buckwheat and Bertha. But baking is a step too far for a hungover Liz ... and her mother is on the phone.
This is the first four minute episode of the late-night TV3 micro-series, written and directed by Harry Sinclair. As wannabe air hostess Liz (Danielle Cormack) and her aspiring scriptwriter boyfriend Ant (Ian Hughes) are getting ready for a night-out, the hapless Ant seems oblivious to the fact that he’s wearing out his welcome — and the hairbrush remedy for his 'itchy mouth' does little to heighten his allure. Meanwhile, Neil (Joel Tobeck) ponders one of the great male mysteries. The soundtrack is 'Into You', courtesy of Flying Nun act The JPS Experience.
The feature film Topless Women Talk about Their Lives evolved out of this late night, low budget, TV3 micro-series about the lives, loves and travails of a group of 20-something Aucklanders. It was written and directed by former Front Lawn member Harry Sinclair with a cast including Danielle Cormack and Joel Tobeck. Each four minute episode was shot over a weekend with actors not sighting scripts until just before the camera rolled. Music from Flying Nun bands featured prominently; the women remained fully clothed despite the tantalising titular promise.
A social cricket match in Cornwall Park needs a third umpire after a bogan's dog swallows the ball in this short film. As the men in white struggle to field the ball, a statistics-obsessed sport crosses absurd boundaries. A line-up of contemporary NZ comedic talent features on the field— plus New Zealand Black Caps cricketers (and 1992 World Cup bowlers) Chris Pringle and Willie Watson. Bradman was written and directed by Peter Tait (actor in classic shorts The Singing Trophy and Kitchen Sink). The film includes classic song ‘Bradman’ by Australian singer Paul Kelly.
One of a select few Kiwi dramas about filmmaking, The Footstep Man centres on a man whose job is creating footsteps and sound effects for movies. Lonely, toiling under a demanding director, Sam (Brit Steven Grimes) gets trapped between real life and reel life. Cinematographer Leon Narbey’s second movie is a portrait of the strange pressure cooker of creating films, a luminous film within a film — with Jennifer Ward-Lealand as muse to painter Henri de Toulouse-Lautrec — and a reminder that for all the technology involved, moviemaking is about the human touch.
Performance group The Front Lawn (Don McGlashan, Harry Sinclair, and later arrival Jennifer Ward-Lealand) stretched all of their prolific talents for their final, 24 minute short film. After he whistles a certain tune, Ben (McGlashan) finds that his partner Linda (Ward-Lealand) no longer seems to be conscious. Then things get stranger: Linda catches up with an old lover (Sinclair) and faces a life-changing dilemma, while her body — awol with a tennis player on Tamaki Drive — has other plans. The surreal romance was made for TVNZ. It won Best Short at the 1990 NZ Screen Awards.
The zenith of Don McGlashan and Harry Sinclair's legendary Front Lawn collaborations, this iconic Kiwi short follows two men and one woman on a rainy night at a deserted bar. Pivoting on amnesia and woven together by music, two timeframes are seamlessly combined and a darkly humorous plot unfolds. The film had a wide international release (Ireland to Norway, Germany to the USA) and was a finalist in the inaugural American Film Festival.
This classic short film provides an unusual showcase for the founding talents of musical theatre group The Front Lawn — Harry Sinclair and Don McGlashan. The duo play every character in this slice of life set amongst the pedestrians of Auckland's Karangahape Road. The narrative unravels like a baton relay. Walkshort was directed by editor Bill Toepfer. Sinclair would go on to do some directing of his own (Topless Women Talk about their Lives), while as lead singer of the Mutton Birds, McGlashan sang an ode to another famous Auckland street, Dominion Road.
Blam Blam Blam’s second hit from 1981 was angular and artsy, hook-filled but unsettling: all qualities captured in a theatrical video, directed by Andrew Shaw. Clowns, magicians, fire-eaters and trick cyclists join the band, while actors play out the saga of ‘Don’t Fight It, Marsha’. The actors — including Phillip Gordon (Came a Hot Friday), Michael Hurst and Donogh Rees (Constance) — were directed by Harry Sinclair, who would later join Blam band member Don McGlashan in The Front Lawn. The Len Lye-style scratch effects were by Jenny Pullar, the Blams’ lighting designer.