Welsh-born Ray Henwood moved to Wellington in his 20s, having studied chemistry and done some professional acting. His long Kiwi theatre career began in-between jobs as a teacher and forensic toxicologist. There have also been a host of screen roles, most famously a run of Moro bar advertisements in the 70s, and an extended part as one of the office workers on classic comedy series Gliding On. In 2006 Henwood was awarded the Order of Merit for services to film and theatre. He has also toured one man shows as Richard Burton and Dylan Thomas, and helped found Wellington's Circa Theatre.
This is the most serious funny play I have ever been in. Ray Henwood in 2008, on appearing in Roger Hall play Who Wants to be 100?
Separation City is a comedy-drama about the complications that ensue as two marriages collapse. Men's groups and midlife crises in contemporary Wellington make up the world in which the multi-national cast explores, in screenwriter Tom Scott's words, "biology and human nature". This feature marks the first solo film script by political cartoonist Scott, who honed his writing skills on a run of TV projects during the two-decade journey to bring the film to the screen. Successful commercials director, Australian-based Kiwi Paul Middleditch, directs.
A classic case of the little movie that could, Second-Hand Wedding is a feel-good tale of garage sales, and the ties that bind. Worried that her mother’s zeal for bargains might ruin her big day, Cheryl (Holly Shanahan) delays unveiling her wedding plans. When Mum (Geraldine Brophy) finds out the information second-hand, she does not react well. Both actors won NZ Film and TV Awards for their work, and the Kapiti Coast-set film was a bonafide Kiwi hit: breaking out from its independently made origins into the all-time Top 10 for NZ films at the local box office.
A Twist in the Tale was one of a series of kidult shows launched by The Tribe creator Raymond Thompson, after he relocated to New Zealand. The anthology series spins from a storyteller (Star Trek's William Shatner) introducing a story (often fantastical) to a group of children, some of whom appear in the tales. The show featured early appearances by many young Kiwi thespians, including Antonia Prebble, Chelsie Preston Crayford, Dwayne Cameron and Michelle Ang. Although the writing team were British, some of the directors and most of the crew were New Zealanders.
The movie that won splatter king Peter Jackson mainstream respectability was born from writer Fran Walsh's long interest in the Parker-Hulme case: two 1950s teens who invented imaginary worlds, wrote under imaginary personas, and murdered Pauline Parker's mother. Jackson and Walsh's vision of friendship, creativity and tragedy was greeted with Oscar nominations, deals with indie company Miramax, and rhapsodic acclaim for the film, and newbie actors Melanie Lynskey and Kate Winslet. Time magazine and 30 other publications named it one of the year's 10 best films.
Shortland Street is a fast-paced serial drama set in an eponymous inner city Auckland hospital. A South Pacific Pictures production, the iconic show is based around the births, deaths and marriages of the staff, family and patients. Screening five days a week on TV2 it is New Zealand’s longest running drama. Characters and lines from the show have entered the culture, most famously, "you're not in Guatemala now, Dr Ropata!". This 2007 promo, set to the theme song, collects together highlights from the first 15 years of the show.
The timeline for building Barcelona cathedral La Sagrada Família spans decades. Architect Antoni Gaudí died in 1926, when it was less than a quarter complete. In 1992 arts show Sunday talked to Kiwi Mark Burry, a longtime principal architect on the famed basilica. Burry talks about being won over by Gaudí at university — when Gaudí was out of vogue — working on the project remotely, and trying to understand Gaudí's intentions for a design that has evolved with time. Meanwhile narrator Ray Henwood waxes lyrical over images of the cathedral and other Gaudí creations.
Norvin has razor teeth and looks as much like a shark as any young boy can. So he makes a dorsal fin out of plastic and sets off to scare everyone out of the water. Now Norvin has the cove to himself. Or does he? The success of animator Euan Frizzell's wry adaptation of the Margaret Mahy picture book saw four more Mahy tales follow (collected on DVD as The Magical World of Margaret Mahy). Among a trio of awards, The Great White Man-Eating Shark won best children's short at the Ottawa International Animation Festival. Ray Henwood provides the droll narration.
Set over a Christmas beach holiday in 1935, The End of the Golden Weather chronicles the friendship between a teenage boy and the wild-limbed Firpo, dreamer and social outcast. Writer/director Ian Mune spent more than 15 years "massaging" Bruce Mason's classic solo play into a movie, before assembling a dream team to bring it to the screen. The finished film captures the world view of a boy for whom fantasy, hope and disappointment intermingle. Among an impressive awards haul, 12-year-old star Stephen Fulford was recognised at America's Youth in Film Awards.
This documentary heads to the Southern Ocean to explore New Zealand’s subantarctic islands. The Antipodes, Bounty, Snares, Campbell and Auckland Island groups are remote outposts between Aotearoa and Antarctica, home to vital breeding grounds for millions of seabirds and marine mammals – from penguins to sea lions and albatrosses – plus unique plants like giant tree daisies. Director Conon Fraser also looks at human efforts to live there from whaling depots, to the short-lived Hardwick Settlement. The hour-long NFU film is narrated by Ray Henwood (TV's Gliding On).
Director Grahame McLean uses the notorious (then recent) 'Mr Asia' drug smuggling saga as fodder for this Wellington underbelly tale. Hello Sailor’s Harry Lyon headlines as a musician and ex-con who partners with a beautiful journo to investigate a global drug syndicate, in between nightclub sessions with fellow musos Beaver and Hammond Gamble. High on 80s guitar licks, Should I be Good? was made in the tax break era without Film Commission investment. McLean followed it right away with The Lie of the Land, becoming a rare Kiwi to make two movies back to back.
This episode of New Zealand's own office comedy sees John (Ross Jolly) concluding that a love of stamps makes the boss (Ken Blackburn) a natural fit for Mastermind — next thing, the stores branch staff are gathering around with imaginary cameras and desk lamps, to help him practise for the pressures of facing quiz master Peter Sinclair. Meanwhile the team try to score another victory by getting an astrological chart made for a racehorse. Roger Hall's sitcom about public servants was a bona fide hit, long before Rogernomics and Ricky Gervais in The Office.
Written by Tom Scott, Press for Service is a humorous take on the shenanigans of the parliamentary press as they battle with the prime minister over their journalistic freedom. With the idealism, sleaze and alcoholism, that traditionally go hand and hand with the job, we follow David Miller; striving to be a respected journalist. Miller writes a damning piece but forgets to check his sources. Opening and closing with John Toon's elegant aerial shots of Wellington and a buoyant score, the episode features prominent Wellington thespians Ray Henwood and Ross Jolly.
In an age before Rogernomics, and well before The Office, there was the afternoon tea fund, Golden Kiwi, and four o'clock closing: welcome to the early 80s world of the New Zealand Public Service. Gliding On (1981 - 1985) was the first locally made sitcom to become a bona-fide classic. The series was inspired by Roger Hall's hit play Glide Time and satirised a paper-pushing working life then-familiar to many Kiwis. Gliding On won several Feltex Awards including best male and female actors and best entertainment.
In an age before Rogernomics, well before The Office, there was the afternoon tea fund, Golden Kiwi, and four o'clock closing: welcome to the early 80s world of the New Zealand Public Service. Gliding On (1981 - 1985) was the first locally-made sitcom to become a bona-fide classic. Inspired by Roger Hall's hit play Glide Time, the award-winning series satirised a paper-pushing working life familiar to many Kiwis. This episode features Beryl's non-smoking campaign, Jim's efforts to kick the habit, office sexual innuendo and a much-debated fire drill. "Morning Jim!"
Ian Mune is Leo Moynihan, secretary of the carpenters’ union, who — with orange mini and leather jacket — has to navigate the shark-infested waters of 70s industrial relations. In this episode, earthquake regulations, a shifty minister and stand-over tactics from worksite agitators, count amongst Moynihan’s workplace problems. At home he has to introduce lecturer girlfriend Sarah to his young son. The NZ-Australia co-production (with ABC) was the first drama series made by TV One’s drama department. It won Feltex awards for best drama and Mune’s performance.
Kaleidoscope was a magazine-style arts series which ran from 30 July 1976 until 1989. Running for many years in a 90 minute format, the show tried varied approaches over its run, from an initial mix of local and international items — including live performances — to episodes which focused on a single artist or topic. In the early 80s Kaleidoscope collected three Feltex awards for Speciality Programme. Hosts over the years included initial presenter Jeremy Payne, newsreader Angela D'Audney, future Auckland music professor Heath Lees, and Warratahs fiddler Nic Brown.
The focus of this short film is a memorial service on Seatoun Beach, five years after the sinking of interisland ferry Wahine on 10 April 1968. More than 50 people died when the ship keeled over just inside Wellington Harbour, after hitting a reef during a ferocious cyclone. The ferry had been in service just 20 months. National Film Unit director Sam Pillsbury uses archive footage of the sinking, along with reconstructions and recreations of radio reports. The memorial service itself was recreated for the film. There are also images the attempted salvage operation.
This National Film Unit production records the making of four large-scale sculptures for a 1971 international symposium to commemorate Auckland City’s centennial. Helen Escobedo (Mexico) nodded to the skyline’s masts and cranes with Signals in Parnell Rose Garden; Opened Stone by Hiroaki Ueda (Japan) was balanced near Auckland Art Gallery for 35 years; and American Fred Loopstra's Homage to Will still ploughs Victoria Park. A central city scrap metal work by Canadian Tom Burrows was removed in 1977, perhaps achieving his stated aim: to “disturb” its viewers!
Made for the UN's first 'Earth Summit' in Stockholm in 1971, the film explores what the future holds for NZ’s environment. Director Hugh Macdonald (This is New Zealand) presents an impressionistic ecosystem: mixing shots of native natural wonder, urbanisation, and pollution with abstract montages and predictions from futurologists — such as Cousteau’s “underwater man”. Before climate change heated up 21st Century Doomsday debates, this film (made for the Ministry of Works!) places stock in individual responsibility. The score aptly enlists the French nursery rhyme ‘Are You Sleeping?’.
This educational video was made by the NFU for the National Mountain Safety Council to promote awareness of bush safety. After a blackboard science lesson (check out a bearded Ray Henwood) things get interesting. A fictional trip into the bush turns into a Stubbies-clad 70s Kiwi version of the Blair Witch Project as we're told that one of the group will not survive the night, picked off by that fearsome killer: exposure. The message is serious, but the doom-laden tone induced titters in school classrooms and scout halls throughout NZ.
Groundbreaking 1971 tele-drama The Killing of Kane tells a story of loyalty and corruption amidst the ‘New Zealand Wars’ of the 1860s. Incorporating documentary ‘interludes’, the story involves the predicament of a pair of Pākehā deserters involved in a attack by Māori resistance leader Titokowaru on a Taranaki redoubt. Stellar performances in the dramatic scenes saw Chris Thomson-directed Kane attract praise. It was the first time the controversial subject of colonial conflict had been portrayed on our TV screens. It was also the first local drama shot in colour.
In this late 60s commercial, actor Ray Henwood appeals to viewers help him eat every Moro Bar in New Zealand. Inspired by a British ad, it was an early entry in a series promoting the Cadbury chocolate bar. The series made Henwood well-known in the 70s as one of the first local figures to hawk a product on screen, directly to viewers (eg Michael Hill, Mike Pero, Suzanne Paul). Henwood focused on acting after his then-boss deigned that being a government scientist as well as 'The Moro Man' was "not a good look". He would win renewed fame on 80s sitcom Gliding On.