Not to be confused with the newsreader of the same name, Richard S Long has had a prolific career as a cameraman and director. Since starting out in 1977, he’s shot news, run his own production company, and worked abroad, directing commercials and music videos in Asia and the US. In 2015 Long directed his debut feature Not For Children.
I have had the most fun any of us could ever imagine. Richard S Long on his screen career
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 excerpt from the first episode of James Belich’s award-winning history of Māori vs Pākehā armed conflict looks at growing Māori resentment, after the signing of the Treaty of Waitangi. The focus is on Ngā Puhi chief Hōne Heke, who sees few concessions to partnership. He is especially incensed by the refusal of the British to fly a Māori flag alongside the Union Jack. His celebrated acts of civil disobedience directed at this symbol of imperial rule flying over Kororāreka (now Russell) lead to the outbreak of war in the north.
In this excerpt from James Belich's award-winning history of Māori vs Pākehā armed conflict, tensions simmer in 1850s Taranaki and Waikato, between land-hungry settlers and Māori who don't want to sell. This resolve to retain their land results in what Belich calls "one of the most important developments in Māori political history" — the birth of the King Movement. But a new governor determined to reassert British authority exploits disunity between Māori factions, and a disputed sale at Waitara culminates in "New Zealand's great civil war of the 1860s".
In this excerpt from James Belich's popular and acclaimed history series, George Grey returns to the governorship in the wake of the costly Taranaki war. Now bitter, secretive and reluctant to share power, he talks peace while secretly planning to strike at the heart of the King Movement in Waikato. As gunboats patrol the Waikato river and a great road is painstakingly built to take his army south, Grey fabricates plots and conspiracies, convincing London to send more troops and ships, until the military balance of power tips in his favour.
In this excerpt from James Belich's high-rating Aotearoa history series, the focus returns to Taranaki, where charismatic chief Tītokowaru had been promoting peace. But settler demands for land and confiscations exhaust his goodwill, and he declares war. Vastly outnumbered, Titokowaru embarks on a devastatingly effective guerrilla campaign, which is aimed at provoking his foes to attack him on his terms. As emotions rise, Tītokowaru's war escalates with the attack on Turuturumōkai Redoubt, an act of cannibalism, and his taunt "I shall not die ..."
This excerpt from the final part of James Belich's award-winning history series focuses on Tūhoe prophet Rua Kēnana — the target of the last action of the New Zealand Wars in 1916, 73 years after hostilities began. He creates an independent community at Maungapōhatu in the Ureweras, complete with a remarkable meeting house. But any whiff of domestic dissent is intolerable for a Government fighting a war overseas. Armed constabulary are sent to apprehend Rua on trumped up charges, with fatal results for two of his followers.
Five-part series The New Zealand Wars took a new look at the history of Māori vs Pākehā armed conflict. It was presented by historian James Belich, who with his arm-waving zeal proved a persuasive on-screen presence: "we don't need to look overseas for our Robin Hood, our Genghis Khan, Joan of Arc, or Gandhi". The popular series reframed NZ history, and its stories of Hōne Heke, Governor Grey, Tītokowaru, Te Whiti, Von Tempsky and Te Kooti, easily affirmed Belich's conviction. The New Zealand Wars was judged Best Documentary at the 1998 Qantas Media Awards.
Bagpipes, haggis, and the heartbreak of leaving home; Hoots Mon examines those who have migrated from Scotland to Aotearoa. In the 1840s a group of Scots settlers started a new life in Dunedin, after breaking off from the Church of Scotland. Ayrshire-born director John Bates talks to some of their descendants, and heads to the far north to interview others with Caledonian roots, in Waipu. Alongside some impressive Richard Long camerawork, the interviews include composer Steve McDonald, whose ancestral research has inspired several Celtic-themed albums.
Vocalist Victoria Kelly is very much the focus of this moody Strawpeople video. Singing enigmatically of dreams, knives and possible obsession— and magically changing outfits off camera, in patented music vid style — she performs in a shadowy, red-lit dive for an audience that consists of Strawpeople founders Paul Casserly and Mark Tierney. Tierney left the group in 1996. Plans for Victoria Kelly to take on a bigger role in Strawpeople would be derailed by her increasingly busy career as a film composer. ‘Beautiful Skin’ was composed by Strawpeople collaborator Greg Johnson.
Clash of the Codes was a made-for-TV series that pitted teams representing various sports against each other in a series of devised physical challenges. In this final episode from the first series, rowing and canoeing are the frontrunners, with plenty of Olympic podium experience on both teams (Ian Ferguson, Eric Verdonk and Chris White, plus world champ sculler Phillipa Baker). They tackle a steep bush rescue and the army confidence course at Whangaparaoa Peninsula. A young Marc Ellis (rugby) gets early practice playing the larrikin onscreen.
Cowboys of Culture is director Geoff Steven's personal perspective on the Kiwi cinema renaissance of the 1970s. It traces the development of the local film industry from the ‘she'll be right' days when filming permits were unknown, and all that was needed to get a picture up were a Bolex camera, enthusiasm and ingenuity. Raw they might have been, but the films (Wild Man, Sleeping Dogs, Goodbye Pork Pie, Smash Palace) represented a vital new cultural force. The film features interviews with the major players, and clips from their movies.
This half-hour portrait of actor and director Ian Mune kicks off at a family wedding. In-between clips illustrating his career, Mune reflects on life as a storyteller, "bullshitter" and goat farmer. He reveals his adaptation process, his loss of confidence after directing Bridge to Nowhere, and how had no idea what he was doing on Sleeping Dogs. He also warns of the dangers of being boring, and the challenges of pulling off a decent commercial. Two years after this documentary aired, Mune returned to glory with the release of his passion project The End of the Golden Weather.
This item from arts show Kaleidoscope looks at Vincent Ward's first two features, Vigil and The Navigator. The director talks about the madness of the Cannes Film Festival, echoes Jack Nicholson's view that women are "a lot smarter than men", and explains why a nuclear sub turns up in The Navigator. He visits his parent's Wairarapa farm, where they remember him as a straightforward and easygoing child. Fiona Kay provides unsparing memories of starring in Vigil as a child, and the film's co-writer Graeme Tetley admires Ward's courage in tackling "big issues" like guilt and betrayal.
This report for TVNZ’s flagship 1980s arts show was made to tie in with Nicholas Reid’s book about the renaissance in NZ cinema that began with Sleeping Dogs in 1977. Reid and a who’s who of filmmakers discuss many of more than 50 films made in the previous decade (with Bruno Lawrence ever present) — and ponder the uniqueness (or otherwise) of NZ film. The industry’s fondness for rural and small town settings, and forceful (often conflicted) male leads is explored; and more neglected areas — Māori film making and more of a voice for women — are traversed.
This short documentary series looked at New Zealand's landscape art from the arrival of Pākehā up until the 1980s. The four episodes moved from the development of a local version of the European tradition (through artists such as John Gully and Petrus van der Velden) through to the homegrown modernism emerging in the 20th Century: the distinct hard-edged styles of Binney, White and Smither, the spiritual abstracts of McCahon and Woollaston, to the later impact of Māori artists like Hotere, Whiting and Kahukiwa.
The artists profiled in this edition of the TVNZ Māori show share a heritage and the vicissitudes of life as professional musicians, but their fields and approaches to making music differ markedly. Entertainer Bunny Walters is rebuilding a career that became derailed after initial success with his hit 'Brandy'. Opera singer Richard Haeata is looking to make his way in a largely Pākehā world which he finds alienating in its individuality. And singer-songwriter Mahinārangi Tocker celebrates her gender and Māori identity but has little use for the music industry.
This Geoff Steven doco follows NZ chefs Stephen Randle and Neville Ballantyne to a bitterly cold northern Japanese winter to compete in an international snow carving contest. Their entry, a sheep dipping scene created out of a 26 tonne block of snow, manages to look even more surreal in the icy Sapporo cityscape than the British team’s London double decker bus. Spirited competition in sub-zero temperatures produces an America’s Cup style rules controversy, but there’s light relief from the hard partying alternative American team from Portland, Oregon.
Heroes followed a band trying to make it in the mid-80s music biz. Teen-orientated, the show marked a first major role for Jay Laga’aia (Star Wars), and an early gig for Michael Hurst (with blonde Billy Idol spikes). Band keyboardist John Gibson co-wrote the series music; he later became an award-winning film composer. Margaret Umbers (Shortland Street, Bridge to Nowhere) was a non-musician in the cast (with Hurst), but since has sung regularly in a jazz band. A second series follow in 1986.
The early life of Dame Whina Cooper, one of the most influential Māori leaders of the 20th century, is explored in the first episode of this two-part TVNZ profile. The inspirational leader of the 1975 Māori land march was born in Hokianga in 1897. She recalls her first protest at age 18, working with her people to improve their land (spurring them on with a whistle given to her by Sir Apirana Ngata) and becoming a pig breeder (with aid from Princess Te Puea). She also reminisces about a Tuhoe leader who gave new meaning to the idea of fiery oratory.
Dame Whina Cooper was one of the most influential Māori leaders of the 20th century. She spent most of her life fighting for land rights; and, in this episode from a two-part TVNZ profile, she explains the importance of the land to her people. The former Panguru storekeeper first came to national attention in 1951 when she established the Māori Women’s Welfare League. At age 80, she was back in the spotlight leading the Māori land march; her fire and determination are very much in evidence in a heated address to then Prime Minister Robert Muldoon.
Merata Mita’s Patu! is a startling record of the mass civil disobedience that took place throughout New Zealand during the winter of 1981, in protest against a South African rugby tour. Testament to the courage and faith of both the marchers and a large team of filmmakers, the feature-length documentary is a landmark in Aotearoa's film history. It staunchly contradicts claims by author Gordon McLauchlan a couple of years earlier that New Zealanders were "a passionless people".
This 1982 Lookout documentary charts Samoan novelist and poet Albert Wendt’s personal view of Samoans in Auckland. Set mainly in what was then predominantly Samoan Grey Lynn, Wendt looks at how New Zealand-born Samoans maintain the traditions of their homeland. He also examines the close ties between those in New Zealand and the wider ainga, or extended family, back home. The church’s role in the community is highlighted, along with sports. Wendt also addresses what he sees as the double edged sword of remittance: sending money back to islands.
Reporter Neil Roberts ventures into South Auckland in this TVNZ documentary, and finds two rapidly growing but very different communities. Otara and Mangere are becoming New Zealand’s industrial powerhouse, but a huge influx of Māori and Pacific Island workers and their families are struggling to adapt in a brand new city that was farmland just decades earlier, and lacks amenities for its new citizens. Meanwhile, to the east, Howick and Pakuranga are also booming but their more upwardly mobile, prosperous and very Pākehā citizens seem to be living in a world of their own.
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.
In 1975 TV One launched with a flagship 6.30 news bulletin which went largely unchanged with the move to TVNZ in 1980. In a 1987 revamp, it became the Network News with dual newsreaders Judy Bailey and Neil Billington (replaced by Richard Long). In 1988, the half hour programme moved to 6pm. With the advent of TV3 in late 1989, it was rebranded One Network News; and, from 1995, extended to an hour. The ill-fated replacing of Long with John Hawkesby in 1999 saw it make headlines rather than report them. In 1999, there was another name change to One News.