Veteran cameraman Waynne Williams, MNZM, has shot everything from the Vietnam War and French nuclear testing to the Christchurch quake, TV drama Pukemanu and Australian movie The Box. Over more than half a century, Williams has worked on over 10,000 news stories. The Christchurch-based lensman runs Port Hills productions with partner Anne Williams.
The manners of the business have changed. Back then we'd have huge arguments about whether a crew would go to intrude on someone, and nowadays we don't really mind intruding. Waynne Williams on changes in the ethics of reporting over his career, The Press, 1 June 2015
Once upon a time the Kiwi accent was a broadcasting crime, and politicians decided in advance which questions they would answer on-screen. Here is the News examines three decades (up to 1992) of Kiwi TV journalism and news presentation. The roll-call of on and off camera talent provides fascinating glimpses behind key events, including early jury-rigged attempts at nationwide broadcast, Dougal Stevenson announcing the 1975 arrival of competing TV networks, the Wahine, Erebus, Muldoon, turkeys in gumboots, and the tour - where journalists too, became "objects of hatred".
Holmes was a long-running current affairs programme that followed the news each weeknight on TV ONE. Presented by veteran broadcaster Paul Holmes, the show was as famous for his showmanship as it was for examining the issues of the day. Holmes interviewed the day's newsmakers; often championing the underdog 'kiwi battler'. In 2004 Paul Holmes defected from TVNZ to Prime TV to set up a rival 7pm current affairs programme, Paul Holmes. That lasted a few months before being axed (due to low ratings).
To mark its first 25 years, TVNZ commissioned independent producer Ian Mackersey to chronicle a day in its life as the national broadcaster. Coverage is split between the often extreme lengths (and heights) gone to by technicians maintaining coverage, and the work of programme makers — including the casts and crews of McPhail and Gadsby and Country GP. The real drama is in the news studio during the 6.30 bulletin (with light relief from the switchboard) in this intriguing glance back at a pre-digital, two channel TV age during the infancy of computers.
This 1985 TVNZ documentary follows the recruitment of three new pilots into the Red Checkers acrobatic flying squadron of the Royal NZ Air Force. The pilots train to fly formations, loops and low level passes. There are close calls, and interviews with pilots and their spouses. What does it take to be a Kiwi Top Gun? Squadron leader (and future NZ Defence Force chief) Bruce Ferguson: "he's got to have confidence in himself, his abilities and to be a wee bit of a showman." The documentary marked one of the earliest directing credits for Emmy Award-winner Mike Single.
After turning “Jeez Wayne” into a national catchphrase with their hit series A Week of It, comedy duo David McPhail and Jon Gadsby continued their TV dream run with the sketch comedy show McPhail and Gadsby. This 'Best of' from the Feltex Award-winning fifth season includes these highlights: 'pronouncing things proper with Jim Knox'; 'This Is Your Life with Robert Muldoon' (featuring McPhail’s infamous caricature of the then Prime Minister); Lynn Waldegrave’s popular impersonation of music show host Karyn Hay; and a Goodnight Kiwi take-off in 'Goodnight from the Beehive'.
In this episode of the early 80s TVNZ high country drama (penned by Pukemanu writer Julian Dickon and directed by Roger Donaldson), Jocko (Bruce Allpress) is reunited with two fellow Korean War veterans — but one is now an escaped convict and the other a police officer heading the manhunt. Stan, another escapee (a suitably manic Bruno Lawrence), stirs things up but the real drama here involves unfinished business for three former soldiers from a conflict 25 years earlier. It’s also very much a man’s world, without a single female character to be seen.
Christchurch's The Mainland Touch began, with other regional news shows in Auckland, Wellington and Dunedin, after the amalgamation of TV One and SPTV in 1980. Early presenters of the often light-hearted Touch were Bryan Allpress and Rodney Bryant who became local institutions. Notable stories included a search for the source of the Avon (now part of the city's folk history); and a popular Christmas Cake Competition, which included a family recipe submitted by Robbie Deans. The regional news shows had bowed out by 1990, having yielded to the Holmes era.
Mortimer’s Patch was a popular drama series following Detective Sergeant Doug Mortimer (Terence Cooper) at work in the town of Cobham. Mortimer plays a city cop returning to his rural roots; Don Selwyn is Sergeant Bob Storey. The series was NZ’s first police drama, and a rare local drama to top ratings. Mortimer's Patch was made when the archetype of the ‘community cop’ everyone knew was still a powerful one, and it was a counterweight to the faceless riot policing of the Springbok Tour. Three series were made.
Kidult drama Gather your Dreams follows Kitty (Kerry McGregor), an aspiring performer travelling with her family's vaudeville troupe in 1930s NZ. In this episode, the troupe competes for viewers with boxing promoter Ted Crawley (George Henare) at a Depression relief camp. Troupe patriarch Wallace (Terence Cooper) plots to best Crawley by managing "Haggis the brawling Scot" (actor's agent and On the Mat legend Robert Bruce’s acting debut). But the 'worker's hope' turns out to be a stooge with a glass jaw. Will coaching from Kitty save the day? The show must go on!
A Week of It was a pioneering comedy series that entertained and often outraged audiences over three series from 1977 to 1979. The writing team, led by David McPhail, AK Grant, Jon Gadsby, Bruce Ansley, Chris McVeigh and Peter Hawes, took irreverent aim at topical issues and public figures of the day. Amongst notable impersonations was McPhail's famous aping of Prime Minister Rob Muldoon; a catchphrase from a skit — "Jeez, Wayne" — entered NZ pop culture. The series won multiple Feltex Awards and in 1979 McPhail won Entertainer of the Year.
Kaleidoscope was a magazine-style arts series which ran from 30 July 1976 until 1989. Running for many years in a 90 minute format, the show tried varied approaches over its run, from an initial mix of local and international items — including live performances — to episodes which focused on a single artist or topic. In the early 80s Kaleidoscope collected three Feltex awards for Speciality Programme. Hosts over the years included initial presenter Jeremy Payne, newsreader Angela D'Audney, future Auckland music professor Heath Lees, and Warratahs fiddler Nic Brown.
Seven Days was designed by producer Des Monaghan to bridge the current affairs gap between the NZBC and TV One. As well as putting the heat on local politicians, it turned its attention to major international events. Major stories included Ian Fraser’s trip to Vietnam to cover the last days before the fall of Saigon and Ian Johnstone’s three-part look at apartheid-era South Africa ahead of the 1976 All Back tour. For its third and final year, the focus changed to observational documentaries and laid the groundwork for TVNZ’s in-house documentary unit.
In 1975 TV One launched with a flagship 6.30 news bulletin which went largely unchanged with the move to TVNZ in 1980. In a 1987 revamp, it became the Network News with dual newsreaders Judy Bailey and Neil Billington (replaced by Richard Long). In 1988, the half hour programme moved to 6pm. With the advent of TV3 in late 1989, it was rebranded One Network News; and, from 1995, extended to an hour. The ill-fated replacing of Long with John Hawkesby in 1999 saw it make headlines rather than report them. In 1999, there was another name change to One News.
Pioneering series Pukemanu (the NZBC’s first continuing drama) followed the goings-on of a North Island timber town. The series was conceived by former forester Julian Dickon (who quit the series and was replaced by Listener critic Hamish Keith as writer). Producing two seasons of six episodes was a key step in industry professionalisation, and many of the cast became stars (Ginette McDonald, Ian Mune). It offered an archetypal screen image that Kiwis could relate to: rural, bi-cultural, boozy and blokey; and reviews praised its Swannie-clad authenticity.
The Alpha Plan involves a British spy down under, investigating strange deaths among a Mensa-like group of the planet's brightest brains (meeting on Pakatoa Island!). Made when jet-setting Cold War thrillers were all the rage, the ambitious series involved roughly 120 actors, and was NZ's first drama series to emerge, after occasional one-off plays. This first meet-and-greet episode builds to a memorable finale, after introducing us to key players: an English geology professor, a curious journalist, and a mysterious American who rings after dark with shocking news.
In the Cold War 60s, thrillers peopled with jetsetting spies with shifty figures standing behind pillars in sunnies were all the rage (Danger Man, The Man from Uncle). Kiwi entry The Alpha Plan revolves around a British security agent who finds himself downunder, on the run, investigating strange disappearances amongst a Mensa-like society made up the planet's brightest brains. The ambitious six-part mystery thriller was the first Kiwi TV drama designed to go beyond one episode; positive reaction to the show paved the way for NZBC’s in-house drama department.
A series of comical graphics introduce this 1966 National Film Unit diversion, in a style animator Terry Gilliam would soon make famous via British comedy shows Do Not Adjust Your Set and Monty Python's Flying Circus. The film itself follows a reporter (Michael Woolf) on a jaunt with an international 'veteran car rally' through Southern Lakes scenery, trying to make sense of it all. As he says, "there don’t seem to be any rules to this vintage motoring business". Directed by John King, the playful film features a dubbed soundtrack, complete with sheep baas and car horn sound effects.
This episode of Pictorial Parade, a long-running National Film Unit newsreel series, presents three events: at Mt Bruce, a native bird reserve is opened, the New Zealand Cricket Team’s tour of India is lost 1-0, and Miss World, Ann Sidney (UK), leads the way in fashion at the 1965 Wool Award and Fashion Parade in Lower Hutt. Watch for takahē feeding from the hand, a disconsolate kiwi being held by the Minster of Internal Affairs, Miss Hutt Valley Wool Princess finalists sashaying in the latest fashions, and the New Zealand cricket team sightseeing in India.
Town and Around was a nightly magazine show, covering everything from current affairs and studio interviews to slapstick to stunts; including a notorious spoof on a farmer who shod his turkeys in gumboots. A popular and wide-ranging regional series, it ran for five years from 1965, and was the training ground for a generation of industry professionals (Brian Edwards, David McPhail, and Des Monaghan amongst many others). Town and Around was made prior to a national network link, and editions came out of Auckland, Wellington, Christchurch and Dunedin.
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.
Government filmmakers the National Film Unit launched Pictorial Parade two years after the demise of Weekly Review. It was another 10-minute magazine programme, but this time monthly, rather than weekly. It was the NFU’s major product for the next 20 years. In 1950 the NFU had been moved from under the wing of the Prime Minister’s Department, to be controlled by the Tourist and Publicity Department. The Pictorial Parade was seen as a move away from the political in government filmmaking, and a return to the promotional role of the early scenic films.