Frequent collaborators singer Anika Moa and director Justin Pemberton crossed paths again for the music video of this track, from Moa's 2008 album In Swings the Tide — her first, slightly countrified album for EMI. In a tastefully furnished room, Moa wakes in a bed of chocolate satin sheets, only to find the day is nearly done for her and the mysterious bedmate sleeping next to her. Moa exhorts her lover, “please don't be mean to me 'cos I really tried ...”, before stripping the duvet off the relationship to see what's underneath.
Set in a half-painted world of city, mountains and purple skies, director Ed Davis's video is a triumph of imagination and ingenuity over reality. The result is an extended aerial journey around an acrobat on a high wire — possibly reflecting some of the lyrics of this Paul McLaney and Anika Moa duet. Don't took out best video at the Kodak Music Clip Awards in 2003.
In this intimate video, set beneath bed covers and shot mostly in close up, director Darryl Ward captures the conscience-stricken essence of Moa's song. Ward's delicate work coupled with Moa's sincere performance, makes for an enchanting confessional.
A teenage Anika Moa attracted the attention of Atlantic Records on the strength of this song, becoming the first Kiwi to sign to a major international label before having released an album at home. The music video places the camera above Moa as she sings about objectification in a house that, even by Kiwi standards, needs a heating upgrade. At the 2002 NZ Music Awards ‘Youthful’ won Moa Songwriter of the Year. In a 2005 Homegrown episode, Moa recalled feeling shy making her first music video. “Everyone thought I looked like Beth Heke."
The making of this Anika Moa video arguably puts the singer's heady early rise in a nutshell. American label Atlantic Records flew an executive down to New Zealand to monitor proceedings, and ensure that the singer looked as slim on screen as possible. Moa and director Justin Pemberton came up with the idea of Moa lusting after every male she passes. The taxi is driven by actor Antony Starr (before Outrageous Fortune). As for Moa, she soon returned home from the US. A local top five hit, the song ended up on the soundtrack of Julia Roberts romance America’s Sweethearts.
The video for this Red Nose Day chart-topper makes the most of a powerhouse combination: celebrities and cute babies. Although lead singer Hammond Gamble gets his share of screen time, the result is largely devoted to close-ups of perhaps the biggest pile-up of famous Kiwis to cram into a single music video. The faces include appearances early on by Simone Kessell, Ilona Rodgers, and Aussie actor Mark Raffety — plus The Wizard, sports legends Grant Fox, John Kirwan and Jeremy Coney, newsreaders Judy Bailey and Anita McNaught, and singers Tina Cross and Suzanne Lynch.
Directed by Darryl Ward, this gorgeously shot video boasts a stellar cast of players and backing vocalists, including Anika Moa, Shayne Carter, Neil Finn, Anna Coddington and drummer Rik Gooch. All were contributors to Runga's third album, Birds. Ward achieves a delicate, occasionally light-hearted tone, as the Kiwi all-star band performs Runga's mellow message of finding hope amidst glumness. "Casting a line to you ..."
This all star cover of Mutton Birds classic ‘Anchor Me’ was made to mark the 20th anniversary of the sinking of Greenpeace ship Rainbow Warrior. After Hinewehi Mohi’s haunting introduction, singers including Anika Moa, Kirsten Morrell (Goldenhorse) Che Fu, and Milan Borich (Pluto) walk towards the camera across a washed out landscape. Nuclear blasts, pollution and Greenpeace vessels can all be seen, while doves pull rainbows across the screen.
At least 3080 Polaroid photographs appear to have been taken for this piece of animated cleverness, which was created by Kelvin Soh and Simon Oosterdijk from Auckland design company The Wilderness. The clip offers viewers a stuttery cavalcade of beautiful faces, including guest vocalist Anika Moa. The series of scrawled numbers visible below the photos give a viewers an effective lesson in how animation — and filmmaking — is ultimately a series of still images, laid in a row. 'Come Here' comes from Dimmer's second album, You've Got to Hear the Music (2004).