Cinematographer Waka Attewell has been shooting images of New Zealand for over 30 years. He began his career at John O' Shea's Pacific Films and later established his own production company Valhalla Films, where he has filmed and directed a run of commercials, films and documentaries.
His ability to home in on the emotional dimensions of a film... and to devise the appropriate lighting and camera style, often at a tangent to strict naturalism, lends his work distinction and enduring quality. Author Duncan Petrie, Shot in New Zealand: The Art and Craft of the Kiwi Cinematographer
Team Tibet tells the story of Thuten Kesang, who came to New Zealand in 1967, exiled from his Tibetan homeland, his family and his culture. Kesang was Aotearoa’s first Tibetan refugee. Filmed over 22 years by globetrotting filmmaker Robin Greenberg (Return of the Free China Junk), Kesang recounts his story, from his parents’ arrest in the wake of the 1959 uprising, to his advocacy for Tibetan environmental and political issues. He has become a point of contact for the global Tibetan community. The documentary was set to premiere at the 2017 NZ International Film Festival.
Poi E: The Story of Our Song tells the story behind one of New Zealand’s most iconic pop songs. Led by Dalvanius Prime, the Patea Māori Club single was released soon after the closure of the town’s freezing works. Conquering disinterest from record labels and radio, Poi E became New Zealand's highest selling single in 1984. Written and directed by Tearepa Kahi (Mt Zion), the "warm, funny, touching" documentary (NZ Herald) features interviews with those involved, and famous fans (eg Taika Waititi). Poi E won applause after premiering at the opening of the 2016 Auckland Film Festival.
The Great Maiden's Blush hinges on two people from very different backgrounds: a girl-racer in prison for manslaughter (Hope and Wire's Miriama McDowell), who plans to adopt out her baby, and a failed classical pianist (Renee Lyons) whose own baby is due for a risky operation. Each must confront their own secrets in order to move forward. Andrea Bosshard and Shane Loader's acclaimed third movie continues an interest in character-rich stories where "big themes play out in modest circumstances". It won awards for McDowell and Best Self-Funded Film at the 2017 NZ Film Awards.
Following the big-screen success of Topp Twins documentary Untouchable Girls came another chronicle of a Kiwi entertainment legend: sometime Taranaki bandito, giggling newsreader and crooner Billy T James. The film uses remastered footage and an impressive cast of interviews to capture his path from cabaret singer to fame, fan clubs and eventual financial and bodily collapse. Te Movie director Ian Mune originally cast James in the classic Came a Hot Friday, as the Māori-Mexican Tainuia Kid; Te Movie co-producer Tom Parkinson played a hand in making Billy T a TV star.
The Camera on the Shore is a feature-length portrait of a man who argued eloquently for the rights of indigenous people to control the camera. Based on extensive interviews with Barry Barclay and those who knew him — and footage from his work — it traces the path of one of the first people to bring a Māori perspective to the screen. The documentary ranges from Barclay's early years in a monastery to speeches at his tangi, touching en route on landmark TV series Tangata Whenua, battling corporations on doco The Neglected Miracle, and behind the scenes conflict on Te Rua.
Rocked the Nation launched in 2008 with six one hour-long shows. Company Satellite Media ransacked the archives and interviewed protagonists to survey 100 key moments in New Zealand music history: smash hits, global breakouts, riots, sex, drugs, rock’n’roll, and TV talent shows. Hosted by Karyn Hay, the series screened on C4 during NZ Music Month, and was the channel’s highest-rating series to that date. Follow-up series counted down 100 New Zealand Pop Culture Stories (2009, hosted by Rhys Darby) and 100 New Zealand Sporting Moments (2011, fronted by Dai Henwood).
In the 2000s mockumentary realism (led by The Office) was making its mark in television comedy. Series The Pretender gave Kiwi politics the embedded camera treatment, with expat comedian Bob Maclaren playing overconfident property developer-turned-MP Dennis Plant. The first episode of the second series sees Plant cause political chaos, with the launch of his Future New Zealand party. This season was nominated for three Qantas TV awards in 2009, including best comedy. The show was created by Peter Cox (Insider’s Guide to Happiness) and Great Southern TV’s Philip Smith.
The Hawke’s Bay earthquake was New Zealand’s worst civil disaster. Over 250 people died following the 7.8 quake on 3 February 1931. In this full-length documentary, director Gaylene Preston (Hope and Wire) gathers eyewitness accounts from survivors, including kuia Hana Lyola Cotter, who recounts joining the rescue effort as a teen, poet Lauris Edmond, and a student from Greenmeadows Seminary. Included is eye-opening newsreel footage of the damage. Earthquake was nominated for Best Popular Documentary at the 2006 Qantas TV Awards; it won best sound at the NZ Screen Awards.
In this mockumentary series, hapless property developer turned politican Dennis Plant (played by Bob Maclaren) campaigns to win a fictional Queenstown seat, then later launches party Future New Zealand. Made by Great Southern, the first season screened on TV3. A second season on TV One coincided with the 2008 election; it was thrice nominated at the 2009 Qantas NZ Film and TV Awards (Best Comedy, plus Actor and Supporting Actor, for Maclaren and Andrew King respectively). Reality met fiction when Plant's 2008 election blog appeared on the NZ Herald website.
As Syd Jackson’s daughter Ramari puts it, there are some who sit on the couch and moan, and others who get up and take action. Winner of Best Māori Programme at the 2003 NZ TV Awards, this episode of Ngā Reo profiles the late fighter for Māori, women's and homosexual rights. The "warrior" intellectual helped put Treaty debate on the agenda, and led Māori activist group Ngā Tamatoa and the Clerical Workers Union. His nephew, broadcaster Willie Jackson, credits his uncle with rousing "the sleeping giant" of Māori activism in the 70s. Jackson would die in September 2007.
If a single word could sum up the free-wheeling flavour of alternative music and comedy in Aotearoa during the 1970s, that word would surely be ... Blerta. The 'Bruno Lawrence Electric Revelation and Travelling Apparition' included foundation members of the NZ screen industry (Lawrence, Geoff Murphy, Alun Bollinger) plus other merry pranksters. Drawing on the Blerta TV series and beyond, Blerta Revisited (aka Blerta - The Return Trip) is an anarchic collection of comedy skits, musical interludes and films culled from the Blerta archives. Costa Botes writes about Blerta here.
In Michael Bennett's allegorical Cow, two old men (played by New Zealand screen legends Ian Mune and Martyn Sanderson) with Confucian beards are adrift in the ocean, a placid Friesian cow in tow. A surreal study on how quickly a minor event can evolve into something far more extreme, the film features no dialogue; rather, a guitar duet that escalates to a duel. It won Best Short Film Script at the NZ Film Awards and made land internationally: Cow was selected for festivals including Cannes (Critics' Week) and Valladolid.
Awatea, a young warrior, is enraged when his lover Te Po, a high-born chief's daughter, enters an arranged marriage. Retribution is swift and brutal. Set in the late 16th century and based on a Shakespeare sonnet ("my love is as a fever, longing still"), the storytelling of Te Po Uriuri is visceral, and suitably mythic in style. Ruru hoot, bloody patu gleam, and bodies and the oily black of the night are vividly shot by Waka Attewell. Directed by Toby Mills and filmed in te reo, it was selected for the Hamburg International Film Festival.
Numero Bruno is a warts and all biography of widely popular actor, musician and counter-cultural hero Bruno Lawrence. Lawrence's intense, charismatic screen presence was key to ground-breaking Kiwi films, Smash Palace, The Quiet Earth and Utu. Directed by Steve La Hood (the veteran director’s TV swansong), this documentary features interviews with family and friends, and liberal excerpts from Lawrence's film and musical work, including performances by 70s alternative Aotearoa icons Blerta and clips showcasing his seminal collaborations with Geoff Murphy.
An urban Maori trust, Te Whanau o Waipareira has developed from modest beginnings as a vegetable selling co-op into the biggest employment and training organisation in West Auckland. This documentary by Toby Mills and Aileen O'Sullivan examines its operations through the eyes of four people who have had their lives turned around by its all encompassing social, health, justice and education programmes. Interviewees include Pita Sharples and trust CEO John Tamihere (who recounts early struggles to be accepted by government, council and business sectors).
In this 1998 documentary, made for TV3’s Inside New Zealand slot, prisoners provide straight-talking descriptions of life on the inside. Collectively rejecting any idea of prison as a soft option, they talk about missing sunlight, closing up emotionally, and how even “the staunchest” end up crying. One long-timer argues that imprisonment is an expected part of becoming a gang member. Statistics provide food for thought about the life cycle of criminality — 78 per cent of inmates have no school qualifications; 80 per cent were abused as children.
If ever a Kiwi screen product merited the moniker 'Pasifika tribal fusion', it is this 1998 performance-based short. In Ahi Ataahua veteran cinematographer Warrick ‘Waka’ Attewell (Starlight Hotel, Poi-E) directs the talents of composer Gareth Farr, choreographer Mika and percussion group Strike. The title translates as ‘beautiful fire’, and Attewell’s camera circles a furnace of Strike drummers framed by harakeke and toi toi flowers. At the core of the elemental — fire, water — set is performer Mika, whose body (dressed by Pacific Sisters) channels Farr’s score.
"I hope you're braver than your brother." A young schoolboy (James Ordish) finds his day plunging into nightmare, when he gets called in for a session with the school dental nurse. The nurse (a sly performance by future casting director Tina Cleary) seems to take pleasure in other people's pain. Directed by cinematographer Warrick ‘Waka' Attewell (Starlight Hotel), this short film for the dental wary was written by Ken Hammon, who was part of the team behind Peter Jackson's debut feature, splatter flick Bad Taste.
This documentary about Māori writer Witi Ihimaera features him in conversation with filmmaker Merata Mita. Ihimaera traverses his life and writing career, emphasising the importance of family (particularly his mother and grandmother) and his overriding Māori identity. Aileen O'Sullivan's film features a star-studded assemblage of local literature — Keri Hulme, Albert Wendt, publisher Geoff Walker — and a dramatised excerpt from his novel Bulibasha ( featuring Rena Owen, Michael Hurst and Rawiri Paratene), shot roughly two decades before 2016 movie adaptation Mahana.
Two young men (played by Kingpin's Faifua Amiga and Michael Sengelow) spend an afternoon drinking, boasting about their sexual prowess, scaring some roving evangelists — and accidentally summoning Satan, after their turntable starts playing records backwards. Satan (played for some of the time by screen legend Ian Mune) promises them everything they desire, so long as they can offer him the blood of a virgin in an hour. A comedy featuring possessed voices, jokes about bodily fluids and a Devil who can change genders. Note: some content may offend.
This documentary shows two directors and a cast of actors working to breathe new life into Shakespeare. Veteran Ian Mune prepares to tackle one of the most difficult leading roles in classical theatre: King Lear. "If you're gonna climb hills, why not Everest?" he says. The unorthodox, bring it alive approach of Theatre At Large directors Anna Marbrook and Christian Penny (future director of Toi Whakaari) seems to err on the side of playfulness. But viewers are shown there is a method to their madness, when scenes from Shakespeare's drama are presented in beautifully-lit tableaus.
Teen actors Nikki Si'ulepa and Toby Fisher won acclaim in Ian Mune's fourth feature as director. Si'ulepa plays a Samoan street kid who meets a well-off white teen, when both are facing mortality in a hospital ward. The co-production between NZ and Canada (where it debuted on cable TV) won over critics in both nations. "Si'ulepa dominates the camera and the action with a natural authority", raved Metro. Moon scooped the gongs at the 1996 TV Guide Awards (including for originating screenwriter Richard Lymposs); and won notice at Berlin and Giffoni film festivals.
Made for Montana Sunday Theatre, Dead Certs provides rare starring roles for talents Rawiri Paratene and Ginette McDonald. Paratene won a Television Award for his acting, and also co-wrote the script (with director Ian Mune), which he began writing on a Burns Fellowship. Paratene plays Hare Hohepa, whose dreams of a winning bet that will allow him to escape his down'n'out existence take an unusual turn: his friend Martha (McDonald) expires after some drinks, then returns in ghostly form to encourage him to keep betting. So begins a dream run at the TAB.
This 1994 ‘home front noir’ is set in World War II Wellington, where the plots — a murdered marine, exploited working girls and gonorrhea — spread amidst the invasion of US soldiers stationed at Paekakariki. Kerry Fox (An Angel at My Table) is a public health nurse who becomes romantically linked with the US investigating officer (Tony Goldwyn — Ghost, TV's Scandal) while pursuing the STDs and the truth. They’re supported by Oscar-winning US veterans Rod Steiger and Robert Loggia. John Reid (Middle Age Spread) directs, from a Keith Aberdein script.
This feature dramatises an ill-fated offensive that Kiwi soldiers undertook during World War I’s Gallipoli campaign. On 8 August 1915 the Wellington Battalion briefly seized Chunuk Bair, a pivotal peak overlooking the Dardanelles; they suffered huge losses. The film pitches the attack as a formative New Zealand nationhood moment, with Kiwi guts and resilience countered by inept, careless British generals, as much as their Turkish foes. Filmed on an Avalon set and the Wainuiomata coast, the story was based on Maurice Shadbolt’s classic play Once On Chunuk Bair.
Variously praised as a major step forward in indigenous cinema, attacked for overambition, and little screened, Te Rua marked Barry Barclay’s impassioned follow-up to Ngati. This story of stolen Māori carvings in a Berlin museum sees Barclay plunging into issues of control of indigenous culture he would return to in book Mana Tuturu. Feisty activist (Peter Kaa) and elder lawyer (screen taonga Wi Kuki Kaa) favour different approaches to getting the carvings back home. Barclay and his longtime producer John O’Shea had their own differences over Te Rua’s final cut.
The capture and release of the French agents who bombed the Greenpeace ship, Rainbow Warrior was not the end of the affair. This film documents the circumstances of the crime, but is focused on efforts by Greenpeace, and artist Chris Booth to create a sense of emotional closure. Booth worked with the Ngati Kura people of Matauri Bay to create a sculpture marking the Warrior's last resting place. The film interweaves the back story of the bombing with sequences showing the efforts to finish the sculpture in time for commemorations.
The largest gathering ever seen of Māori tribal war canoes (waka taua) was one of the centrepieces of the 150th anniversary of the signing of the Treaty of Waitangi in 1990. This documentary, narrated by Tukuroirangi Morgan, followed the ambitious countrywide programme to build the ornately carved waka, and assemble them at Waitangi as a demonstration of Māori pride and unity. The 22 strong fleet, powered by 1,000 paddlers, also fulfilled a dream of Tainui leader Princess Te Puea Herangi that had been curtailed 50 years earlier by World War II.
Anna Campion directs her mother Edith and younger sister Jane in this slyly observed short: a re-imagining of Edith’s (reluctant) audition for a small role in Jane’s An Angel at My Table. From when Edith picks Jane up at the airport en route to her Otaki home, the professional and personal roles blur. Anxiety, huffs and matriarchal needling ensue as an often comic, sometimes poignant domestic tango between the former stage actress and film director Jane plays out in front of the camera. Anna was studying at London’s Royal College of Art when the film was made.
Although The Tumbleweeds toured beyond Otago only occasionally, they provided many New Zealanders with their first exposure to country music. Almost 40 years into the band's career, Stephen Latty (Opera in the Outback) got some of their songs and memories down for this half-hour film. The band describe influences, costumes, and their own mid-tour double wedding. Country music expert Garth Gibson praises the "quite famous harmony sound" of sisters Myra and Nola Hewitt. Then The Tumbleweeds hit the road for Gore's Gold Guitar Awards, to perform 'Maple on the Hill'.
Opera in the Outback offers a wry, fly on the wall view of the lead-up to a most unusual event: the first concert by Kiri Te Kanawa in the Australian outback. Kiwi director Stephen Latty and writer Michael Heath realise the people are the story, from affable locals to those preparing for 9000 joyful, sometimes drunken arrivals. The inhabitants of Beltana — population roughly 12 — risk building a new racetrack for visitors less operatically inclined, while Australian National Railways send all the rolling stock they can. Some of the Kiwi film crew were awake for 52 hours, trying to capture it all.
The Warratahs were unique in the late 80s NZ music scene — a band playing classic country music with an eye on the mainstream. They enjoyed some chart success but director Waka Attewell's video for their first single almost seems to anticipate that they will make their major impact as a live act — honing their sound on the road in halls, pubs and woolsheds the length and breadth of the land. The location is a school hall in the Wellington suburb of Brooklyn, with a room full of dancers responding to the Warratahs' signature warmth and timelessness.
The second single from Wellington's country crossover kings is a classic tale of lost love and the girl that got away: propelled by Nik Brown's fiddle, with Barry Saunders out front singing it like a cowboy. Director Waka Attewell's music video intersperses the band's performance with shots of Saunders in and around Wellington with a supporting cast of planes, trains and automobiles. The car is a cut-down Holden Belmont and there's a glimpse of the Cook Strait ferry (but the Warratahs' involvement with the Interislander is still a few years off).
This Depression-era road movie tails teen runaway Kate (Greer Robson) as she tags along with World War I veteran Patrick (Aussie actor Peter Phelps) — himself on the run after assaulting a repo man. The odd couple relationship grudgingly evolves as they often narrowly escape the law, and head north across the southern badlands. Director Sam Pillsbury's on the lam tale won wide praise, with Kevin Thomas in the LA Times calling it "pure enchantment". Robson's award-winning turn as the scamp followed up her breakthrough role in Smash Palace.
Director John Laing followed acclaimed romance Other Halves with an equally stylish but very different big city tale: a thriller in which three orphans plan an international heist to avenge the killing of one of their fathers. The expected diet of shootings, skulduggery and globetrotting accents is enlived by side trips to Geneva, songs from romantic interest Jennifer Ward-Lealand, and a cast of villains to die for (Peter Bland, Ian Mune, Anzac Wallace, Grant Tilly). When Dangerous Orphans was sold in Europe it set an early record for a New Zealand film.
This documentary follows the Vintage Car Club of New Zealand on a 1985 commemorative tour. On 24 March 1985, over 90 vehicles and their owners gathered in Invercargill to honour a century of motoring. Then the Vauxhalls, Chevrolets and Fiats embark on a reverse Goodbye Pork Pie as the lovingly-restored vintage cars head from the deep south all the way to Cape Reiga, meeting Prime Minister David Lange en route. A rare directing credit for veteran cameraman Allen Guilford, Milestones is narrated by John Gordon, who swaps A Dog's Show commentary for motoring trivia.
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 uplifting promotional clip is as famous as the chartbusting song. Accompanied by Jo, the breakdancing guide, for a tour of Patea and surrounds, the Patea Māori Club are captured "bopping and twirling like piwakawaka": at the local marae, in Wellington's Manners Mall, and on Patea’s main street, where milk tankers and sheep trucks pass by the Aotea canoe remembrance arch. So does the impresario himself: Dalvanius does a pūkana out a car window. In 2010 'Poi E' re-entered the charts thanks to Taika Waititi hit Boy. A documentary on the song was released in 2016.
"If you don't like the beat, don't play with the drum." 'Maxine' was a single taken from O'Neill's 1983 album Foreign Affairs, about a King's Cross prostitute — "Case 1352, a red and green tattoo" — and based on a woman who worked the streets nearby. The song charted at No. 16 both here and in Australia. The clip starts with Sharon arriving at the airport; look out for leopard skin print tights and a dress straight off Logan's Run. Other highlights: a steamy sax solo, heavy eye shadow and backlit silhouettes in "rain-slicked avenues." Nice.
This film investigates and captures the dramatic changes to Wellington's cityscape in the 70s and 80s. "To get in before nature's earthquake we created one of our own". As a result of mass demolition of buildings deemed to be earthquake risks and the subsequent building boom, graveyards make way for motorways, and wood and stone for steel, glass and concrete. There are interviews with the boosters (Bob Jones, Sir Michael Fowler), demo workers, and laments for the loss of heritage and local culture (Harry Seresin, Aro Valley protesters, and surprisingly, Rex Nicholls).
This early 80s series aimed to introduce and encourage young Kiwis into the outdoors. Fronted by legendary climber Graeme Dingle, and based at Turangi's Sir Edmund Hillary Outdoor Pursuits Centre (co-founded by Dingle in 1973), it was produced for the Department of Education. In this fifth episode Dingle and a bevy of young Kiwis learn about the basics of alpine travel: traversing and belaying on the slopes of Mt Ruapehu. The team tackles an igloo build, before practising self arrest using a pick axe, and ultimately, summiting the volcano.
This series aimed to introduce and encourage young Kiwis into the outdoors. Fronted by climber Graeme Dingle, and based at Turangi's Sir Edmund Hillary Outdoor Pursuits Centre (co-founded by Dingle in 1973), it was produced for the Department of Education. In this sixth episode Dingle surveys the history and confidence-building philosophy of the centre, showing rafting, rope courses, and a bush rescue. He also revisits influential moments in his adventuring career, from heading up the Ganges in a jetboat, to helping disabled climber Bruce Burgess up Ruapehu.
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 film documents Auckland's Round the Bays run. In 1980 jogging was booming, with coach Arthur Lydiard and a band of Olympic champs (Snell, Walker, etc) inspiring the way. Here, participants run and reflect, from a blind runner, to children and an army squad. Slo-mo sweat, sinew and samba shots frame the 70,000 runners as members of an infectious cult chasing the piper around the waterfront. Adidas, terry towelling and facial hair make the film a relaxed 70s update on Olympiad; directed by Sam Pillsbury it won awards at Chicago and Torino festivals.
This Feltex Award-winning documentary follows the 1977 Indo-New Zealand Ganges expedition, where Sir Edmund Hillary and crew (including son Peter) attempt to jet-boat upriver from the mouth of the Ganges to its Himalayan heart. There, they aim to make a first ascent of Akash Parbat. The adventure pilgrimage was a proof of concept for the Kiwi-invented boat, and a return to action for Ed after mourning the death of his wife and daughter in a 1975 plane crash. The mission faces epic white water, altitude sickness and tigers, as they’re cheered on by throngs on the river’s banks.
A rare and early case of a Kiwi play being adapted for the big screen, Middle Age Spread asks whether adultery is inevitable (or whether the adulterers will inevitably be found out). Grant Tilly stars as a philandering teacher fearing a future of stress, decay and marital dissatisfaction. Roger Hall's acclaimed middle-aged comedy was adapted in the first flush of the Kiwi film renaissance, and marks the feature debut of many talents: director John Reid, cinematographer Alun Bollinger, writer Keith Aberdein, editor Mike Horton, and composer Stephen McCurdy.
A disabled climber achieves his dream of climbing a mountain. Bruce Burgess is a 24 year old who was born with a spastic condition. With the help of legendary mountain climber Graeme Dingle, he trained at the Turangi Outdoor Pursuits Centre. In August 1978 they conquered Mount Ruapehu together. Acclaimed producer/director Gaylene Preston's first film and shot by cinematographer Waka Attewell, it won Special Jury Prizes at the Banff Festival of Mountain Films and the Festival International du Film Alpine, Les Diaberets in 1980.
A 1970s film contrasting impressions of two places over the course of a day: Mana Island and Wellington city. Two young climbers (a teacher and a gardener) row out to the island while the sun rises and the city wakes up. Over smokes and beer, the men discuss why they climb; evocative shots of their rockface ascent are paralleled with shots of city bustle: traffic, Radio Windy DJs and new high rises. The genre of dramatised documentary was relatively new when cinematographer Attewell made this film — his directorial debut — mainly shot over two weekends in 1973.
An old woman (Olive Bracey) recounts to her nephew (actor Martyn Sanderson) memories of her life in Hokianga. The film is a mix of personal return journey for Sanderson and an affectionate record of his spirited aunt (she's "the one who ate wheatgerm" in the family). Autumn Fires mixes conversations, photos, and dramatisations of romantic letters. Sanderson rambles on the farm, picks mussels in bull kelp sandals, muses on industrial agriculture and on the "unambitious peaceful life". Directed by Barry Barclay, the elegiac film screened in TV1's Scene series.
The Adventure World TV series saw Sir Ed lead an A-Team of mates on a run of adventures. The concept was dreamt up by Bob Harvey, who enlisted Roger Donaldson to direct The Kaipo Wall and an (unproduced) Everest trip. Sir Ed and his climbing mate Mike Gill then went DIY and made two half hour films. This mission to climb The Needles — a rock stack off Great Barrier Island — was the first. Peter Mulgrew sails them over, Murray Jones goes parkour on the rocks and scales a kauri, Graeme Dingle surfs a dingy, and Sir Ed is the self-described “peppery co-ordinator”.
Before turning to directing, Barry Barclay did more than five years training to become a priest. That experience surely percolates through his film Ashes, with its reflections on identity, spirituality and living (or feeling) apart from others. The film centres on the thoughts of four people: an artist, a woman struggling with her identity as a high achiever, an actor, and a priest. Are all of them acting, or only Sam Neill? The film features readings from Ash Wednesday, the poem written by TS Eliot after converting to anglicanism. Ashes screened on NZ television on 17 March 1975.
Apparently it's not that New Zealand has a bad image in the USA, more that it has no image. In an attempt to remedy this situation, cameras follow New Zealand's favourite mid-70s country rocker Kenny Rogers (pre-'The Gambler') and his band the First Edition on tour on a Road Services bus. All western shirts, shaggy hair, beards and satin jackets, they see the sights, meet the people (many of them older, rustic characters), play baseball, put down a hangi, break into song and admire the country's slower, more dignified pace. If only it had a McDonalds...
Tangata Whenua was a groundbreaking six-part documentary series that screened (remarkably in primetime) in 1974. Each episode chronicled a different iwi and included interviews by historian Michael King with kaumātua. These remain a priceless historical record. The Feltex Award-winning script was by King and director Barry Barclay. The NZBC said the series had "possibly done more towards helping the European understand the Māori people, their traditions and way of life, than anything else previously shown on television". Paul Diamond writes about Tangata Whenua here.
Tangata Whenua was a groundbreaking six-part series from 1974, on Māori. Barry Barclay directed, and historian Michael King was writer and interviewer. Each episode (remarkably screening in primetime on Sunday nights) chronicled a different iwi and included interviews with kaumātua — a first for New Zealand screens. This episode looks at the people of Waikato, and focuses on the Kīngitanga (Māori King Movement), examining why a movement formed in the Waikato in the 19th century to halt land sales and promote Māori authority has contemporary relevance.
This documentary follows the 1973 Heatway Rally, a mud and oil-splattered event in which 120 drivers covered 3600 miles over eight days. Directed by Tony Williams, it was a major logistical exercise, with five camera units, shot by a who’s who of the 70s NZ film industry. In addition to high speed on-and-off road action, it includes an explanation of what co-drivers actually do, a chance for a driver’s wife to ride in a rally car, and driving and cornering montages set to orchestral accompaniment. It won the Feltex Award for best documentary.