After time in print and television news, and nine years commanding the Wellington Film Festival, Shelton began his dream job — selling local films for the New Zealand Film Commission. During a 22 year run as the commission's first marketing director he handled sales for more than 60 feature films, including Goodbye Pork Pie, An Angel at My Table and Once Were Warriors.
Lindsay has maximised the potential for so many New Zealand films and always treats every movie like it's the best. And he doesn't forget the old ones either. Director Roger Donaldson - Onfilm, May 2001
The opening episode of the Prime TV series celebrating 50 years of New Zealand television travels from an opening night puppet show in 1960, through to Outrageous Fortune five decades later. It traverses the medium's development and its major turning points (including the rise of programme-making and news, networking, colour and the arrival of TV3, Prime, NZ On Air, Sky and Māori Television). Many of the major players are interviewed. The changing nature of the NZ living room — always with the telly in pride of place as modern hearth — is a story within the story.
This April 2001 report comes from a function to farewell film salesman Lindsay Shelton. Over 22 years at the NZ Film Commission, Shelton played a key role in selling Kiwi films to overseas markets, including Goodbye Pork Pie, An Angel at My Table, and Once Were Warriors. Those on hand in Wellington to salute his efforts include Film Commission Chief Executive Ruth Harley – who praises Shelton’s "remarkable optimism about New Zealand films" – and directors Vincent Ward, Jane Campion, Peter Jackson (via video link), and John O'Shea, who calls Shelton the "backbone" of the NZFC.
In this excerpt from the 1996 TV One arts series, presenter Alison Parr interviews the NZ Film Commission's longtime marketing director Lindsay Shelton about the international success of Kiwi films. Shelton attributes the recent popularity of Once Were Warriors and Heavenly Creatures to Kiwi stories being different and new — "everything in our films was unexpected". Roger Donaldson, Geoff Murphy, Jane Campion and Peter Jackson are mentioned, with special note of Jackson's "confidence and wish" to stay in New Zealand's "tiny as well as fragile" film industry.
An epic documentary chronicling the extraordinary life of Kiwi filmmaker Colin McKenzie. Or is it? McKenzie's achievements included cinematic innovations involving steam power and eggs, and an unfinished biblical tale filmed on the West Coast. The first television screening of this Costa Botes/Peter Jackson production memorably stirred up New Zealand audiences. Forgotten Silver went on to screen at international film festivals in Cannes and Venice — where it won a special critics' prize.
The 1994 Cannes Film Festival turned out to be a very good year for New Zealand: a little movie called Once Were Warriors began its rise to glory, and some even smaller films did big things. Frontline reporter Ross Stevens was in France to capture the action — from impressed reactions to Warriors, to the 'film is a business' talk of NZ Film Commission chair Phil Pryke. Director Grant Lahood's short film Lemming Aid comes second in the official competition, and the festival screens a special season of Kiwi shorts — only the second such event in Cannes history.
September 1994 marked a turning point in Peter Jackson's career. With the debut of his film Heavenly Creatures, many critics began to see him in a new light. This One Network News piece interviews Jackson at Wellington Airport, shortly after winning a Silver Lion at the Venice Film Festival for Heavenly Creatures. Jackson says he plans to keep making movies in New Zealand, and pays tribute to his late producer Jim Booth. Five months later, Jackson was nominated for his first Academy Award. Three months after that, he began Hollywood-funded movie The Frighteners in NZ.
Once upon a time the Kiwi accent was a broadcasting crime, and politicians decided in advance which questions they would answer on-screen. Here is the News examines three decades (up to 1992) of Kiwi TV journalism and news presentation. The roll-call of on and off camera talent provides fascinating glimpses behind key events, including early jury-rigged attempts at nationwide broadcast, Dougal Stevenson announcing the 1975 arrival of competing TV networks, the Wahine, Erebus, Muldoon, turkeys in gumboots, and the tour - where journalists too, became "objects of hatred".
Cannes is the place where art meets schlock on the French Riviera. A year before Jane Campion's The Piano shared the festival's top prize, NZ-made documentary Cannes '92 managed to snare almost everyone standing, from Voight to Van Damme — including NZ entrants Alison Maclean (with her movie Crush) and Nicky Marshall (Mon Desir). Vincent Ward mentions the 14 companies involved in his Map of the Human Heart. Baz Luhrmann promotes Strictly Ballroom; Paul Verhoeven completely forgets the question after his Basic Instinct star Sharon Stone interrupts proceedings with a kiss.
This 1986 Kaleidoscope excerpt visits the world’s premier film festival. Reporter and future Once Were Warriors producer Robin Scholes begins with the official competition – where two years before Vigil vied for the top prize, the Palme d’Or – then focuses on Kiwi films being promoted in the marketplace. She interviews the NZ Film Commission's Lindsay Shelton (selling Arriving Tuesday); Dorothee Pinfold (Dangerous Orphans), asks producer Larry Parr (Bridge to Nowhere) if Kiwi films can survive without tax breaks, and chats to Challenge Films' Henry Fownes and Paul Davis.
Screening as Goodbye Pork Pie packed cinemas and gave hope that Kiwi films were here to stay, this 1981 TV documentary attempts to combine history lesson with some crystal ball gazing on what might lie ahead for the newly reborn film industry. Host Ian Johnstone wonders if three local movies per year might be a "fairly ambitious" target; producer John Barnett argues for the upside of overseas filmmakers shooting downunder. Also interviewed: Pork Pie director Geoff Murphy, veteran producer John O'Shea, and the NZ Film Commission's first Chairman, Bill Sheat.