Part of a well-known Kiwi arts family, Josh Frizzell’s screen apprenticeship involved props and design; one early gig saw him delivering prop machine guns up the Shotover River by helicopter. He went on to direct a run of music videos in the 1990s, including award-winners for Emma Paki and Shihad. Frizzell has gone on to helm episodes of The Brokenwood Mysteries and Fresh Eggs, plus TV movie Ablaze, about the 1949 Ballantyne's fire. His advertising work includes multiple inflight safety campaigns for Air New Zealand, and a break-in at the Tui Brewery. He is one of the owners of Trans-Tasman commercials company Eight.
The Static video is incredibly ambitious ... There are plenty of music videos from the mid 90s that were gripped with Tarantino fever, but the Static video actually manages to pull it off. 5000 Ways to Love You blogger Robyn Gallagher reviews Josh Frizzell's music video Static Part 1
Described by co-star Neill Rea as the "little show that could", The Brokenwood Mysteries has screened in over 15 countries and and involved a long run of fictional murders. Each feature-length episode of this Prime TV crime drama is a standalone murder mystery, set in a small Kiwi town. Neill Rea (Scarfies) stars as veteran detective Mike Shepherd, who works alongside Detective Kristin Sims (played by Fern Sutherland from The Almighty Johnsons). Backing up the pair are Detective Sam Breen (Nic Sampson from Funny Girls) and Russian pathologist Gina Kadinsky (Cristina Ionda).
Nothing Trivial was a dramedy that kept score on the lives and loves of five friends in a pub quiz team called Sex on a Stick. The cast of City Lifers shifted to the suburbs and nearing middle age was led by Shane Cortese, Tandi Wright, Nicole Whippy, Debbie Newby-Ward and Blair Strang. Created by Rachel Lang and Gavin Strawhan, (the veteran writers behind Go Girls, Maddigan’s Quest, and Mercy Peak) the popular South Pacific Pictures production screened for three seasons on TV ONE. A fan-driven campaign saw NZ On Air fund a tele-movie to wrap up the series.
Rachel Lang and Gavin Strawhan created Go Girls out of a desire for an upbeat show about "people who liked each other". Audiences liked the characters too: the show ran five seasons, after introducing us to a group of 20-something friends, each aiming to make a major life-change in the next year. Over five series various romantic adventures ensued, and the core cast of Anna Hutchison, Alix Bushnell, Bronwyn Turei, Jay Ryan and Matt Whelan were joined by others — before finally departing altogether, with one final season revolving around a new cast of wanna bes.
Created by superhero fan Stephen J Campbell, this light-hearted adventure series follows teen Ben Wilson (Carl Dixon) who discovers his father and grandad have done time as superheroes. Still getting to grips with the basics of being one himself, Ben enlists family and friends to help fight assorted villians. The show ran for three seasons, and spawned web series The Wired Chronicles and Origins. Nominated for awards in Rome and New Zealand, it picked up one in Korea. The eclectic cast included the tried (David McPhail) and the new (Hannah Marshall from Packed to the Rafters).
In the 1990s Maree Sheehan was one of a small number of Māori women who used Māori instrumentation to create their own special flavour of dance music, hip hop and R'n'B. The video for this highly percussive R’n’B track from 1995 features performances by kapa haka group Te Ao Hurihanga. The stylish monochrome clip was partially shot on Auckland's One Tree Hill, before it lost its famous tree. Josh Frizzell, who directed this, had recently helmed one of the most played Kiwi music videos of 1994 — System Virtue, for Māori singer Emma Paki.
It’s standard practice for a music video to complement a song but not on this angry media denunciation from a mid-90s hip-hop partnership featuring MC OJ and the Rhythm Slave and Darryl 'DLT' Thompson. The Josh Frizzell directed mini-epic allows them to channel their inner Tarantino in a drama featuring an Eastern European femme fatale, a criminal mastermind, a bomb, a speeding car, code breaking and the men’s toilet at Auckland’s Hotel DeBrett. Meanwhile, the music functions very much as a soundtrack as it fades in and out of the action.
As smooth and laid-back as the song, this Josh Frizzell-directed music video takes inspiration from the geometric designs of album covers from 1960s label Blue Note Records. The track is from saxophonist Nathan Haines’ debut Shift Left (then New Zealand’s best-selling jazz album). Here Haines is a precocious 22, bespectacled, with his hair cropped unusually short. Sani Sagala (aka Dei Hamo) turns up to add a rap overlay to the song's ‘acid jazz’ influenced sax grooves. Frizzell also directed videos for Emma Paki (System Virtue) and Urban Disturbance (Static).
This evocative music video scored a double-header: it was voted best video at both the NZ Music Awards, and the NZ Film and Television Awards. Emma Paki won gongs for singing and songwriting. Director Josh Frizzell mixes images of Paki singing on the streets with often sombre portraits of locals in their element, from children to gang members. Widely regarded as Paki's magnum opus, System Virtue became one of the most played local music videos of 1994. Killing Joke's Jaz Coleman produced the song; a much lusher version later appeared on 1996 album Oxygen of Love.
The Edge was an early edition in a series of magazine style arts shows made by the Gibson Group. Later shows included Sunday, Bookenz, Bill Ralston-hosted Backch@t, and Frontseat. Diverging from then-standard Kaleidoscope model (sometimes lengthy documentaries, often on single subjects) The Edge took a faster-paced approach, with multiple pieces in a half hour show. Subjects ranged from the birth of special effects company Weta to early landscape painter Alfred Sharpe. Fronted by writer Mary McCallum, two series and over 60 episodes of the show were produced.
Valley of the Stereos is a comic face-off that starts tinny, but gleefully escalates to bass heavy, as a not-so-zen hippy (Danny Mulheron) gets caught up in a vale-blasting battle with the noisy bogan next door (Murray Keane). Made by many key Peter Jackson collaborators, the near-wordless pump up the volume tale was directed by George Port, shortly before he became founding member of Jackson's famed effects-house Weta Digital. Ironically Weta's computer-generated miracles would help render the stop motion imagery seen in the finale largely a thing of the past.
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.
After their house explodes and they bump into a gunman, journalist Alf (Temuera Morrision) and his American girlfriend (Beverly Hills Cop’s Lisa Eilbacher) head to the West Coast, on the run from the cops and mysterious forces. The conspiracy plot is mostly an excuse for chases, capers and crashes galore, all imbued with plenty of pell-mell shenanigans (this time heading north in a red Falcon) by Goodbye Pork Pie director Geoff Murphy. The movie marked Temuera Morrison's first big screen starring role. This excerpt sees John Clarke cameo as a used car salesman.
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.