Vincent Ward has won an international reputation as an original and visionary filmmaker. Vigil and The Navigator played in competition at the Cannes Film Festival (the first New Zealand features to do so). Docudrama Rain of the Children (2008) revisited people from his 1980 documentary In Spring One Plants Alone. Ward also directed Robin Williams afterlife drama What Dreams May Come.
I'm interested less in objective or social realities than in private realities, so it's a special kind of landscape I'm exploring, an interior landscape. Vincent Ward
In these short clips from our ScreenTalk interviews, directors, actors and others share their memories of classic films, as we mark 40 years of the NZ Film Commission. - Roger Donaldson on odd Sleeping Dogs phone calls - David Blyth on Angel Mine being ahead of its time - Kelly Johnson on acting in Goodbye Pork Pie - Roger Donaldson on Smash Palace - Geoff Murphy on Utu's scale - Ian Mune on making Came a Hot Friday - Vincent Ward on early film exploits - Tom Scott on writing Footrot Flats with Murray Ball - Greg Johnson on acting in End of the Golden Weather - Rena Owen on Once Were Warriors - Melanie Lynskey on auditioning for Heavenly Creatures - Ngila Dickson on The Lord of the Rings - Niki Caro on missing Whale Rider's success - Antony Starr on Anthony Hopkins - Oscar Kightley on Sione's Wedding - Tammy Davis on Black Sheep - Leanne Pooley on the Topp Twins - Taika Waititi on napping at the Oscars - Cliff Curtis on The Dark Horse - Cohen Holloway on his Wilderpeople stars
Barefoot Cinema looks at the "art and life" of Alun Bollinger, whom Peter Jackson calls "the finest lighting cameraman that the country has ever produced." Goodbye Pork Pie, Vigil, Heavenly Creatures ... the path of the man known as 'AlBol' is like a screen industry growth chart. But the film is as much an affectionate account of the values and family of a "greenie good keen man", shaped around his four decades-long relationship with wife Helen. In this excerpt, 'AlBol' nails down iron in the rain at his West Coast home, and he and Peter Jackson reflect on their collaborations.
This lauded documentary revisits the subject of a film Vincent Ward made in 1978, aged 21. That film, In Spring One Plants Alone, told the story of 80-year-old Puhi, who lived with her schizophrenic son in the isolated Urewera. The follow-up — part detective documentary, part historical reenactment — focuses on Puhi's life. She married the son of Māori prophet Rua Kenana, had 14 children, and after a run of tragedies, believed herself to be cursed. This excerpt goes “way out there in the bush” to the Maungapohatu community where Rua, “made the city of God on Earth”.
Vincent Ward's fifth feature follows an Irishwoman in 1860s New Zealand, as Māori tribes resist the occupation of their land by the British. Sarah (Samantha Morton) has had an affair with a Māori and borne his child. Years later the boy is kidnapped by his grandfather, a powerful tribal leader. Sarah embarks on a search for her child, aided by warrior Wiremu (Cliff Curtis). When she finds him, both mother and son must decide to which culture they belong. This excerpt from the notoriously ambitious film sees Sarah encountering charismatic chief Te Kai Po (Temuera Morrison).
Loosely based on the case of a real-life computer dealer who acquired international bank records and later died mysteriously on Auckland Harbour Bridge, Spooked marked Geoff Murphy’s first local movie in 15 years (after time directing in Hollywood). Everyman Kevin (Christopher Hobbs) is caught up in a barrage of intimidation after buying some used computer equipment and unwittingly receiving corporate secrets; Cliff Curtis plays the journalist investigating his case. There are also rare cameos by director Vincent Ward and Goodbye Pork Pie star Kelly Johnson.
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.
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 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.
A young boy is afflicted by apocalyptic visions in medieval Cumbria. Believing he is divinely inspired to save his village from the Black Death, he persuades a group of men to follow him into a tunnel. They dig deep into the earth and emerge ... in Auckland, New Zealand, 1987. Following portents, the time travelers must negotiate the terrors of a strange new world, (motorways, nuclear submarines) — while seeking to save their own. Nominated for the Palme d'Or at Cannes, it scooped the gongs at the 1988 AFI and 1989 NZ Film & TV Awards.
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.
Toss is an 11-year old girl living on a remote hill country farm. While out with her father herding sheep, he falls and is killed. Ethan, a bearded stranger appears, carrying his body, and plants himself on the farm. Toss fears he’s Lucifer and is confused when he and her mother become lovers. It is through Ethan, however, that Toss comes to terms with her father’s death and the first stirrings of womanhood. Vincent Ward’s debut feature was the first NZ film selected for competition at Cannes; LA Times’ critic Kevin Thomas lauded it as “a work of awesome beauty”.
Sons for the Return Home tells the story of a Romeo and Juliet romance between students Sione, a NZ-raised Samoan, and Sarah, a middle class palagi. Director Paul Maunder shifts between time and setting (London, Wellington, Samoa) in adapting Albert Wendt's landmark 1973 novel. Sons was the first feature film attentive to Samoan experience in NZ — alongside themes of identity, racism and social and sexual consciousness. In this excerpt Sione meets Sarah's parents, and his tin'a has him scrubbing their Newtown pavement prior to Sarah's reciprocal visit.
A State of Siege is the story of a retired art teacher dealing with isolation and loneliness, culminating in a stormy, terrifying night. This is a six-minute excerpt. Vincent Ward's acclaimed short — adapted from a Janet Frame novel — was made when he was at Ilam art school. The Evening Post called it "the most sensitive and intelligent film that has ever been made in New Zealand". San Francisco Chronicle praised: "Ward creates more horror in this low budget movie with his play of light and shadow than Stanley Kubrick was able to create in the whole of The Shining."