Bruce Sheridan has produced and directed a range of music and television projects, including Frank Sargeson documentary Perfectly Frank. He is currently chairman of the film and video department at Chicago's Columbia College.
I enjoy having the confidence and focus that experience brings, while everyday being exposed to the hopes and dreams of young artists who are just starting out. Bruce Sheridan, in 2010
Lawless saw Kevin Smith in one of his biggest roles: as undercover cop turned private investigator John Lawless. The character's career arc was told across three tele-movies. In this self-titled debut, Lawless struggles with divided loyalties while working for a dodgy drug lord (Joel Tobeck). Next thing, a robbery leaves Lawless framed by the good guys. This stylish Kiwi take on American crime shows won good reviews and a stash of awards, including gongs for Tobeck, co-star Angela Dotchin, director Chris Martin-Jones and best drama programme.
Biographer Michael King takes us through the life of pioneering writer Frank Sargeson: from puritanical parents to self-discovery in London, through to decades encouraging an emerging tide of New Zealand writers. The documentary’s most priceless moments are the tales told when four of those writers return to Sargeson’s fabled fibrolite bach, in Takapuna. Kevin Ireland calls it an “oasis, this marvellous place where books ruled supreme”. Sargeson’s purposefuly minimalistic writing style, the doco argues, helped NZ literature find its own voice.
Dave Dobbyn in Concert is weighed strongly towards songs from Twist, the 1994 album that NZ Herald writer Graham Reid described as "breathtaking in its daring, ambition and reach". Dobbyn performs alongside a band which includes Twist producer Neil Finn. Although the offkilter soundscapes of the album are necessarily cut back on stage, Twist's strong musical bones remain clear. 'It Dawned on Me' showcases the curly-haired one in especially fine voice, while hit single 'Language' works wonders when stripped back to Dobbyn, Finn and twin acoustic guitars.
Co-written by lead singer Fiona McDonald, 'Juice' celebrates the days when she watched morning music shows as a child. Alongside scenes of children playing outside, things take a more sinister turn indoors, with one particularly nightmarish sequence showing her younger self restrained in a dentist’s chair. 'Juice' was released paired with Chickens song 'Choppers', and won Single of the Year at the 1994 NZ Music Awards. It was originally recorded by McDonald’s other band, Strawpeople, under the title 'Dreamchild'. It featured on 1994 Strawpeople album Broadcast.
Sam Neill narrates this documentary plotting the career of one of Aotearoa's most successful bands: from formation by Mike Chunn, Phil Judd and Tim Finn at Auckland University in 1971 to their demise in 1984, when Neil Finn walked away. The major players talk freely about good times and bad — art rock, the wayward genius of Judd (including a rare interview), Noel Crombie’s spoon playing and costume design, hard times in England and the punk backlash, the big pop hits after Neil joined, Tim’s solo album, an obsession with paper darts, and the pre-gig ritual of One For One.
This 1993 award-winner was the first Crowded House video made in New Zealand. Director Kerry Brown and producer Bruce Sheridan wanted to emphasise the surreal, fantasy elements of the song, using distinctly Kiwi imagery. Locations included beaches and dense bush on the West Coast, the plains of Central Otago and the Victorian architecture of Oamaru. Scenes of an Anzac Day ceremony and marching girls also highlight the homeland setting. Brown took inspiration from Salvador Dali paintings for the psychedelic effects that were added in post-production.
Headless Chickens were a rogue electronic act on the traditionally guitar-dominated Flying Nun label, so it makes sense that this Chickens video would be equally outlandish. Inspired by both the Mexican Day of the Dead and Eastern European circus traditions, it has the band dressed as gypsies, beckoning us towards the chaotic carnival which they inhabit. Accompanying the band are a brigade of performers, including knife throwers and stilt walkers, only adding to the surreal feel.
Jack Lovelock won New Zealand’s first Olympic athletics gold medal. He did so in spectacular fashion, winning the 1500 metres at the 1936 Berlin Olympics. In front of Hitler and 110,000 spectators, the famous ‘Lovelock kick’ unfurled into NZ’s sporting and collective consciousness: from Timaru to Oxford, to Berlin triumph. Yet Lovelock was an enigmatic achiever. In this short film, the race — the supremely judged apex of a sporting career — is contrasted with his mysterious and tragic death, in front of a train on the New York subway in 1949.
After releasing a couple of cassettes and EPs, Hallelujah Picassos unveiled their debut album Hateman in Love in 1992, which included this single. Their genre-bending sound, incorporating elements of ska, hip-hop, punk, and indie rock made them a staple of the Auckland live scene. Frontman Roland Rorschach takes centre stage in the Bruce Sheridan directed video, performing over images of the band playing while being observed by men in white protective suits. Also featured are the talents of Greg Johnson on trumpet, and Alice Latham on saxophone.
This infectious song about the heartache of love took Jordan Luck roughly five minutes to write in an east London squat. It was the band's first release after a brief name change to Amplifier, then a shortening to The Exponents. Despite its unlikely origins and subject matter, the song has become an enduring Kiiwi sports stadium sing-along — rivalling Dave Dobbyn's 'Loyal' for unofficial national anthem status. The song's simplicity is matched by director Kerry Brown's video, which allows the band to do what they do best, in scenic spots including Waiotapu hot springs.
Initially avoided by New Zealand radio stations — who in the same period, showed as little interest in playlisting Crowded House classic 'Don't Dream It's Over' — this became Shona Laing's biggest international single, in a career notable for stylistic change. '(Glad I'm) Not a Kennedy' got to number two in NZ, and number 14 in the US rock charts. Here, the acoustic songbird of 1905 is recast as serious synth-pop singer, in a clip which mixes native beaches, brutalist architecture and poignant archival footage of the ill-fated US president.