The work of writer Martin Edmond rarely slots into easy geographical or stylistic boxes. After making his screen debut as co-writer of Illustrious Energy — an evocative portrait of Chinese gold prospectors in Central Otago — Edmond has gone on to explore tales of outsiders in another three feature films, and a number of books.
Misapplied pressure for your project to be commercial is one of the filmwriter’s nightmares, because the result of it, so often, is that the film as made misinterprets the intention of the script. Martin Edmond
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.
Illustrious Energy sees Chan and his older mate Kim prospecting for gold in 1890s Otago. Marooned until they can pay off their debts and return to China; they’ve been fruitlessly working their claim for 12 and 27 years respectively. Chan faces racism, isolation, extreme weather, threatening surveyors, opium dens and a circus romance. The renowned feature-directing debut of cinematographer Leon Narbey provides a poetic evocation of the Chinese settler experience; especially vivid are Central’s natural details — desolate schist and tussock lands, rasping crickets.
In 1979, Red Mole was arguably New Zealand's best-known alternative theatre troupe. During two seasons in New York they wowed audiences with their Dada-influenced shows. The Villager wrote: "All possible elements of theatre and spectacle are employed by the skilful members of the group." In this 49 minute film, Red Mole take a surreal journey through actual and imaginary New Zealand. Sam Neill had done time as a travelling actor in schools before directing this for the National Film Unit. He collaborated again with editor Judy Rymer on NZ screen history Cinema of Unease.