Michael Scott-Smith’s four decade career as a producer/director spanned everything from Compass and Close to Home to Crime Watch. In the 1970s he helped open the doors of television to many of the decade's emerging independent filmmakers. As head of drama for TV1, he oversaw a rush of new production — before stints in information programmes, and back at the production coal face.
At a time when there was no finance available for feature filmmaking, Michael Scott-Smith sought out independent filmmakers to contribute their talents through the banner of the Survey documentary series. He provided a platform for many directors to hone their skills, which would eventually lead them to become feature film directors. Director Tony Williams
The opening episode of the Prime TV series celebrating 50 years of New Zealand television travels from an opening night puppet show in 1960, through to Outrageous Fortune five decades later. It traverses the medium's development and its major turning points (including the rise of programme-making and news, networking, colour and the arrival of TV3, Prime, NZ On Air, Sky and Māori Television). Many of the major players are interviewed. The changing nature of the NZ living room — always with the telly in pride of place as modern hearth — is a story within the story.
This fourth episode in Prime’s series on Kiwi television history series charts 50 years of sports on TV. Interviews with veteran broadcasters are mixed with clips of classic sporting moments. Changes in technology are surveyed: from live broadcasts and colour TV, to slo-mo replays and CGI graphics. Sports coverage is framed as a national campfire where Kiwis have been able to share in test match, Olympic, Commonwealth and World Cup triumphs and disasters — from emotional national anthems and inspirational Paralympians, to underarm deliveries, snapped masts and face-plants.
From early teleplay The Evening Paper to the edgy Outrageous Fortune, this episode of 50 Years of New Zealand Television talks drama and comedy. Key players, from actors to executives, recall a host of signposts in the development of storytelling on Kiwi TV screens. John Clarke recalls 1970s sitcom Buck's House; Paul Maunder remembers the drama that likely helped introduce the DPB; and TV executive John McRae recalls worries about the projected cost of global hit Hunter's Gold, and mentioning the word 'placenta' on the first episode of Shortland Street.
A Twist in the Tale was one of a series of kidult shows launched by The Tribe creator Raymond Thompson, after he relocated to New Zealand. The anthology series spins from a storyteller (Star Trek's William Shatner) introducing a story (often fantastical) to a group of children, some of whom appear in the tales. The show featured early appearances by many young Kiwi thespians, including Antonia Prebble, Chelsie Preston Crayford, Dwayne Cameron and Michelle Ang. Although the writing team were British, some of the directors and most of the crew were New Zealanders.
In this episode of anthology series A Twist in the Tale, two children visit a Devon estate and discover a barrel load of mysteries involving the story of King Arthur — including a hidden shrine, a soothsayer, and an excavation reaching its climactic stages. After being beckoned into the woods one day by a woman in white, young Aidan (Nicko Vella) finds himself being pulled towards the excavation site. But just what part is he meant to play? A Twist in the Tale was filmed in New Zealand, with William Shatner (Star Trek 's original Captain Kirk) introducing each story.
This 1983 documentary looks at the (then booming) export of deer antler velvet from New Zealand farms to Asia where the “horns of gold” are highly valued as an aphrodisiac and cure-all tonic. The doco captures the hazards of the trade: from bulldogging (hunters leaping from helicopter skids onto wild deer), to volatile markets in Hong Kong and Korea. The players include a triad of Asian middlemen “who make the millions”, and Kiwi deer entrepreneur Tim Wallis, who led a delegation of farmers to China in 1981 to discover the secret of the Eastern love potion.
This documentary reviews that 1983 Royal Tour downunder by Prince Charles and Princess Diana. The tour was notable for the presence of royal baby William; images of the son and heir playing with a Buzzy Bee on the lawn of Government House in Auckland were published around the world. The royals also visit the ballet, banquet, waka, hongi, plant kauri, and see Red Checkers and firemen’s displays. Prince Charles’s duties include announcing an extra holiday for school kids and he meets younger bro Edward on his gap year (tutoring at Wanganui Collegiate).
This second episode of the early 80s chat show sees host Ian Johnstone welcome Howard Morrison, Pita Sharples and Rosa Tamepo to talk about ‘breaking in’. Morrison and Sharples discuss being Māori ‘breaking in’ to a Pākehā world. Tamepo reflects on being a Pākehā married to a Māori. Sharples recalls being a Kahungungu boy from the backblocks at Auckland University; Morrison twists the theme to talk about growing up as a Te Arawa tama in Tūhoe country. Made by David Harry Baldock, the show was inspired by the relaxed style of English interviewer Michael Parkinson.
This episode of The Deep End asks whether a navy captain has the skill set to direct television. Aided by Royal NZ Navy officer Peter Cozens, navy veteran Ian Bradley agrees to direct a teleplay starring an occasionally troublesome team of Kiwi actors. Bradley's mission had its roots in an earlier episode, where he forced normal Deep End host Bill Manson to walk the plank of the frigate HMNZS Waikato. The result is a rare behind the scenes glimpse into local TV production — and a chance to witness the grace under pressure of both Bradley, and veteran TV Production Assistant Dot LePine.
The Governor was a television epic that examined the life of Governor George Grey in six thematic parts. Grey's "Good Governor" persona was undercut with laudanum, lechery and land confiscation. NZ TV's first (and only) historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. It won a 1978 Feltex Award for Best Drama. Auckland Star reviewer Barry Shaw trumpeted: "It has made Māori matter. If Pākehā now have a better understanding of the Māori point of view [...] it stems from The Governor.
The Governor examined the life of George Grey, providing a whole new angle on traditional portraits of him as the "Good Governor". The six-part historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. This episode — 'He Iwi Kotahi Tatou' (Now We Are One People)' — won a Feltex award for best script. War looms in the Waikato as Māori tribes band together; peacemaker and kingmaker Wiremu Tāmihana (the late Don Selwyn) agonises over the right course of action.
The Governor was a six-part TV epic that examined the life of Governor George Grey (Corin Redgrave). This episode arguably best lived up to the blockbuster scale and revisionist ambitions of the series. It depicts key battles of the 1863-64 Waikato Campaign (including ‘Rewi’s last stand’ at Ōrākau). General Sir Duncan Cameron (Martyn Sanderson) feels growing unease following Grey’s orders to evict Māori villagers, as he learns respect for his foe, and that Grey’s motives are driven not just by the urge to impose order on ‘the natives’ but by hunger for land.
TV drama The Governor examined the life of Governor George Grey in six thematic parts. Grey's 'Good Governor' persona was undercut with laudanum, lechery and land confiscation. NZ televison's first historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. It won a 1978 Feltex Award for Best Drama. In first episode 'The Reverend Traitor', Grey arrives to colonial troubles: flag-pole chopping Hōne Heke, missionary Henry Williams, and rebellious Te Rauparaha. Writer Keith Aberdein goes behind the scenes here.
Part one of a four part thriller written by Keith Aberdein. In a small North Island town, a mysterious unmarked grave is believed to hold the remains of a tohunga who died ridding his people of a deadly epidemic. Now, an archaeological dig might be getting too close to that grave. A visiting doctor (Cathy Downes) arrives in town to find the locals in a state of agitation; the archaelogist (Martyn Sanderson) full of good intentions, but unaware of where his actions could lead; and relations between Māori and Pakeha strained as two cultures struggle to co-exist.
Keith Aberdein devised Epidemic after being given the brief to write a drama about “disease coming into New Zealand”. Set in a small North Island town where race relations are strained to breaking point, this four part virus outbreak thriller revolves around Māori tāpū and an archaeological dig which locals are worried will disturb the graves of their ancestors. An accomplished cast (Martyn Sanderson, Don Selwyn, Cathy Downes) helped the series break bicultural-themed TV drama ground as European education and culture, and Māori tradition and spirituality collide.
Pioneering soap opera Close To Home first screened in May 1975. For just over eight years (until August 1983) middle New Zealand found their mirror in the life and times of Wellington’s Hearte clan. At its peak in 1977 nearly one million viewers tuned in twice weekly to watch the series co-created by Michael Noonan and Tony Isaac. This first episode sees the family gathering for Grandfather’s 78th birthday. Vivian (Ilona Rodgers) moans to Tom (John Bach): “you’ve drunk all my cooking sherry”, then tenderises the beef with the empty bottle.
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.
Pioneering soap opera Close To Home first screened in May 1975. For just over eight years, middle New Zealand found their mirror in the life and times of Wellington’s Hearte clan. At its peak in 1977, nearly one million viewers tuned in twice weekly to watch the series, which was co-created by Michael Noonan and Tony Isaac. They initially only agreed to make it on condition they got approval for The Governor. The popular family saga carved a regular niche for local drama on screen; the demands of creating a regular show helped develop the skills of Kiwi actors and crew.
The Hum is about sailing legend Geoff Stagg, and his yacht Whispers. Directed by Tony Williams and written by Martyn Sanderson, the doco is a paean to the lure of sailing, focusing on Stagg’s colourful personality, and his veteran ocean-racing crew, as they take on the Wellington to Kapiti Island and down to the Sounds race. Fortunately for the film they deliver on reputation. Dolphins, Strait squalls, streaking, ciggies, and some fierce 70s moustaches are all in a weekend’s sailing. Stagg would go on to head renowned Farr Yacht Design (now Stagg Yachts).
Geoff Murphy (Utu) directed this freewheeling adaptation of the Māori legend of Uenuku and his affair with mist maiden Hinepūkohurangi. The story of love, betrayal, and redemption was the first Māori myth adapted for TV — and the first TV drama performed entirely in te reo. The Listener softened viewers by printing a translation before it aired. Filmed at the Waimarama base of Murphy and cinematographer Alun Bollinger, Uenuku was produced by company Peach Wemyss Astor for the NZ Broadcasting Corporation — a rare independently produced TV drama in the 1970s.
New Zealand’s economy is in serious trouble in the first episode of this award-winning drama series about The Great Depression. An ailing Prime Minister and a weak government seem powerless in the face of a downward spiral caused by rising unemployment and falling export prices. Meanwhile, the plight of a boot maker seeking work while people are being laid off all around him, and a jeweller struggling to keep his business afloat and food on his family’s table bring home the human cost and social divisiveness being caused by the worsening crisis.
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.
The Great Depression — the biggest social upheaval ever faced by New Zealand — is the subject of this very well-received three part NZBC drama series. Based on an award-winning script by Michael Noonan, The Longest Winter focuses on the experiences of politicians, the middle class family of a jewellery shop owner, a boot maker and an unemployed workers’ group. It examines the inter-related forces that combined in the early 30s to plunge New Zealand into some of its darkest days — and left the nation and many of its citizens scarred for decades after.
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 future advertising legend Tony Williams, it was a major logistical exercise, with five camera units, shot by a who’s who of the 70s New Zealand 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 1974 Feltex Award for Best Documentary.
This 1973 TV drama is inspired by events which led to a major riot on the West Coast during the 1860s gold rush. After prospector Albert Hunt (Ron Burt) registers a gold claim near Ōkārito, he finds himself accompanied by hundreds of fellow miners — who refuse to let Hunt out of their sights, as he returns to the site via water-logged forests and beaches. The darkly poetic tale of what men can do after they smell gold was partly shot on location on the West Coast. The opening features Sam Neill and Close to Home veteran Tony Curran, among Hunt's fireside colleagues.
This 1973 film sees poet Alistair Te Ariki Campbell explore the history of Kāpiti Island — from being a stronghold for Māori chief Te Rauparaha, to whaling station and its present form as a bird sanctuary. The film chronicles Campbell’s first visit to the legendary motu, where he feeds a kākā parrot a date from his mouth, and witnesses a remarkable scene where a weka kills a Norway rat. With impressionistic sequences set to verse, director Peter Coates’ ‘poetic realisation’ of the island was called “a remarkable contribution to NZ television” by Listener critic David Weatherall.
This award-winning 1973 TV drama follows the career of PM Richard 'King Dick' Seddon from the events leading to his premiership in 1893, until his death in 1906. Writer Michael Noonan intersperses speeches and cabinet discussions with vignettes of Seddon's interaction with pressure groups and voters. Tony Currie (Close to Home) won a Feltex Award as the colourful Seddon, who forced through groundbreaking legislation. Listener reviewer Roger Hall praised it as New Zealand's "best historical documentary" to date. Watch out for broadcaster Brian Edwards as an opposition MP.
Tony Williams recognised that passion makes for compelling human interest whatever the subject and came up with the idea of a “pub battle” where three people from very different fields, but united by a common dedication to their respective callings, would be brought together to debate their obsessions. The subjects — choirmaster Maxwell Fernie, astronomer Peter (Night Sky) Read, and sports journalist Terry ‘TP’ McLean — are also filmed separately at work; shots of Fernie working with his choir are particularly notable in the scrum of sport, art and science.
Gliding On meets Borat, as a man pretending to be a fisherman from a fictional town heads to Wellington to find out if any government agency will take action about fish he says are dying in his river. Clad in jacket and tie and walk shorts and walk socks, he traipses the corridors of power which are artfully shot to look like a hell from which he will never escape. His attempts to find someone who can take action yield only a succession of impotent bureaucrats who participate happily but only to explain, often at length, why they can’t actually do anything.
Opening with an image of Orpheus floating on the water, this inspired doco climaxes with a contender for NZ's most eyeopening montage yet. Loaded with examples of the infinite ways the human voice can make music, the film sees host Julian Waring introducing choirs, opera, balladeers and protest singers. Along the way Michael Heath recreates a performance by Florence Foster Jenkins, a worryingly close cousin of Asian-New Zealand songbird Wing. The mash-up finale uses 2000 photographs to summarise two decades of music, in a scene that must have blown minds in the suburbs.
This notorious film looks at '70s bikie culture, focusing on Auckland's Hells Angels (the first Angels chapter outside of California). These not-so-easy riders — with sideburns and swastikas and fuelled by pies and beer — rev up the Triumphs, defend the creed, beat up students, cruise on the Interislander, provoke civic censure, and attend the Hastings Blossom Festival. After a funeral, Aotearoa's sons of anarchy head back on the highway. Bikies was banned by the NZBC — possibly due to the public urination, lane-crossing, chauvinism and pig's head activity.
Director Peter Coates pays tribute to the intelligence and wit of the world’s only mountain parrot in this Survey documentary; as a Christchurch Star review put it, "they must be the least camera-shy birds in creation". The kea’s antics are aided by Ian McDonald’s playful score, plus interviews with expert Dick Jackson, lecturer Les Cleveland, climber John Pascoe, a ranger, a tramper, and a farmer who describes hunting kea — now threatened and protected, but once the subject of a bounty after the opportunistic birds developed a taste for sheep sashimi.
In this 1972 documentary writer James McNeish visits Opononi to examine the life and controversial death of Opo the dolphin. Working from a McNeish idea, director Barry Barclay uses Opo’s mid 50s visit to the Hokianga as the basis for a probing film essay on people, and other animals. Witnesses recall Opo “oomping away”; they include local Piwai Toi, filmmakers Rudall and Ramai Hayward, and author Maurice Shadbolt. Opo is provokingly not shown on screen. Michael King praised Miracle as “without a doubt the most interesting and evocative” slot in the Survey series to date.
In the early 1970s expat broadcaster Michael Dean took Aotearoa’s pulse, as it loosened its necktie and moved from “ice-cream on mutton, swilled around in tea” conservatism, towards a more cosmopolitan outlook. Dean asks the intelligentsia (James K Baxter, Tim Shadbolt, Peter Cape, Shirley Smith, Bill Sutch, Ian Cross, Peter Beaven, Pat Hanly, Syd Jackson, Hana Te Hemara) for their take. The questions range from “what does the family in Tawa sit down to eat these days?” to the Māori renaissance. Dean had made his name in the 60s, as a high profile broadcaster with the BBC.
“A film developed from the imagination of New Zealand children” is how director Tony Williams describes this remarkable, sprawling mix of drama and documentary. It features a fictitious teacher (writer Michael Heath) working with a class of 11-year-olds from Petone to explore what freedom means to them. At times their notions might seem naive but the film remains firmly non-judgmental. The free-wheeling approach, most memorable in the Paekakariki beach fantasy scenes, makes for a “wonderfully idiosyncratic” (film historian Roger Horrocks) hymn to juvenile freedom.
Directed by Tony Williams, this documentary is a strong example of how to make engaging television out of a brief that might easily have been overly earnest. Nominally “a history of service clubs in New Zealand”, the footloose film explores a rich variety of organisations created to bring people together: from accordion players and air hostesses to flying saucer believers and Rotarians. The film celebrates a fundamental human need to ‘get together’. Poet Denis Glover provides sardonic commentary. It won the best programme of year Feltex Award.
In the one channel days of the early 1970s, the Survey slot was the place to find local documentaries. Topics ranged across the board, from social issues (alcoholism, runaway children) to the potentially humdrum (an AGM meeting) to the surprisingly experimental (music film The Unbelievable Glory of the Human Voice). After extended campaigning by producer John O’Shea, emerging independent filmmakers, including Tony Williams and Roger Donaldson, joined the party — bringing fresh creativity and new techniques to the traditional gentle, narration-heavy doco format.
This NZBC documentary goes behind the scenes of the All Blacks, as the 1969 edition prepares to face the Welsh tourists. Match-day superstitions and training routines are analysed: Colin Meads relays his fitness regime (up farm hills), Sid Going discusses being a missionary, and there is much musing on all-things All Black from players, punters and even footballers’ wives. Exploration of player psychology plays it up the middle, and though the film neglects to ask how many Weetbix a player can eat, it was nominated for Best Documentary at the 1970 Feltex Awards.
Launched in October 1964, Compass was the first local programme to provide regular coverage of politically sensitive topics. Alongside the job of reporting on the news from a NZ perspective, Compass was the first to file comprehensive news reports from overseas. The controversial banning of a programme on the changeover to decimal currency became a flashpoint in 1966. This led to the high profile resignation of producer Gordon Bick. Compass can now be seen as the forerunner to Close Up, Foreign Correspondent and more recently Sunday.