Dan Salmon is a multi award-winning director and producer of documentary (Made in Taiwan, Here to Stay) and drama (Licked, The Day Morris Left). His documentaries have screened on TVNZ, ABC, Al Jazeera and EBS in Korea, and at festivals in Tahiti, Canada and the United States.
The doing. Making stuff. Telling stories Dan Salmon to The Big Idea, on what he most enjoys about his job
Family, friends and former foe joined Helen Clark before the cameras for this TV3 documentary, which charts her journey from Vietnam protestor through low-polling Labour Party leader, to long-reigning PM and the UN. In this excerpt, Clark and biographer Denis Welch recall how after becoming opposition leader, Clark was advised to make various changes to her hairstyle and presentation. Featuring appearances by John Key, Don Brash and media-shy husband Peter Davis, the two-part doco was helmed by Dan Salmon and artist/director Claudia Pond Eyley.
In this five part series, photographer, conservationist and publisher Craig Potton is a New Zealand coast tour guide. Each episode focuses on a region, taking in scenic splendour, while celebrating and taking the pulse of its biodiversity. Along the way Potton frames photos and meets the coasters: from scientists, sailors, swimmers and artists, to iwi, boaties and bach owners. As well as presenting, Potton conceived and wrote the series, produced by South Pacific Pictures. Wild Coasts followed the award-winning and ratings success of Potton’s 2010 series Rivers.
In the 1950s thousands of Pacific Islanders came to Aotearoa to meet a labour shortage. They faced racism, and in the 1970s, notorious dawn raids by police. In 1971 a group of young gang members and students set up the Polynesian Panthers to stand up for the rights of the Pasifika community. They ran food co-ops, homework centres, and lobbied for support services. In this Dan Salmon-directed documentary, presenter Nevak Rogers explores the inspirations, events (Bastion Point, Springbok Tour) and legacy of the movement co-founded by her uncle Will 'llolahia.
Starting in the questioning times of the late 60s, many New Zealanders began leaving town to set up their own communities, in search of alternative ways to live. This then and now documentary travels to communes long gone and still active, and tracks down many of those involved. Tim Shadbolt describes a time when people questioned "everything fearlessly ... without reserve and without restraint". The back to the land approach brought both satisfaction and fatigue. Dirty Bloody Hippies played to full houses at NZ's Documentary Edge Festival.
Here to Stay uses New Zealand personalities to examine key settler groups that make up the Kiwi tribe. Each show mixes personal stories with a wider view, as the presenter sets out to discover what traits and icons their ethnic group contributed to the NZ blend. In the first (of two) series Michael Hurst, Theresa Healey, Ewen Gilmour, Jackie Clarke, Frano Botica and Bernadine Lim explore the English, Irish, German, Scot, Croatian, and Chinese stories respectively. Each episode includes identity reflections from a chorus of well-known Kiwis.
Actor Michael Hurst began life in northern England, then moved to Christchurch at age eight. In this Here to Stay episode he looks at the pervasive elements of Kiwi culture that derive from mother England — from roasts, rugby, tea and the Mini, to a language and legal system. In this excerpt Hurst fries up fish'n'chips with Ray McVinnie, stalks deer with Davey Hughes, and explores how class ideals travelled south to Mt Peel and Christ's College .... A chorus of Kiwis, including ex-All Blacks' captain David Kirk and historian Jock Phillips, ponder the influence.
Don McGlashan wrote this "secular gospel" song for a key scene in Toa Fraser film No. 2: where matriarch Nanna Maria watches her family at a party and says "look at all that life". The song won an APRA Silver Scroll songwriting award and spent 22 weeks in the charts,. It rose, appropriately enough, to number two. It only became a single thanks to public demand, fuelled partly to this video — which features No. 2's cast and crew gathering for a backyard performance by vocalist Hollie Smith, accompanied by McGlashan and the rest of the Mount Raskil Preservation Society.
In this documentary 'Naked Samoan' Oscar Kightley, and Māori radio/TV personality Nathan Rarere use DNA technology to trace their families' ancestry. They discover that their forebears originated in Taiwan before migrating to the Pacific via Vanuatu (and the Cook Islands, for those going on to Aotearoa). On the DNA trail they meet locals and find striking cultural similarities — even in Taiwan, where the indigenous people look Polynesian, and provide a haka-like welcome. The film won top honours at the International Oceania Documentary Film Festival in Tahiti.
NZ Herald writer Michele Hewitson described the concept behind this series as "Popstars with jokes". Experienced comedian Paul Horan scours Aotearoa for fresh comedic talent; over the course of a month, fifteen newbies are tested in live and television settings. Each episode ends with eliminations — the "last stand-up standing" is crowned the winner. Comedians Jon Bridges and Raybon Kan join Horan as judges. The first episode features Queen St venue The Classic Comedy Club. The show was partly inspired by a stand-up contest for new acts held in the United Kingdom.
Fifteen wannabe comedians combat nerves and a tight deadline in this first episode of talent quest So You Think You're Funny. The first task for judges Jon Bridges, Raybon Kan and Paul Horan is to eliminate five contenders from the line-up. The contestants are given a few days to write and practise a short set, before performing it in front of a live audience at Queen Street's Classic Comedy Bar. This scenario would be terrifying for most, and it confirms a harsh truth that Horan offers early on: "If the audience hates you, there's not a lot we can do'. One hundred people originally auditioned.
This Dan Salmon-directed short is about three barbers and the search to replace Morris (Rawiri Paratene), who wants to become a professional dancer. Morris dreams of "bigger mirrors" with "lights around them instead of hair dryers" while the old boys’ club of barbers banter about the past, each telling a personal story as they discuss Morris's impending departure. But the search for a replacement barber is fruitless. "You can't even advertise for a man for a bloody barbers" complains one. Meanwhile local mother Joanne (Pip Hall) dares to apply for the job.