A National Film Unit cameraman for 36 years, Brian Cross worked on a large number of films, ranging from royal tours and rugby tours to industrial progress in forestry and electricity transmission, some as cameraman and director. He is particularly remembered for his record of the maiden voyage of HMNZS. Otago, and for his many films of New Zealand railways.Image credit: Archives New Zealand, ref AAQT 6421 B18889
During his 34 years as a National Film Unit cameraman, Kell Fowler filmed throughout New Zealand, and travelled as far afield as China and the South Pole. Career highlights included his work as cameraman and director of Oscar-nominated Antarctic film One Hundred and Forty Days Under the World (1964), and the filming of the sweeping three-screen vistas that featured in Expo 70 hit This is New Zealand.
Hugh Macdonald began his long, award-studded career at the National Film Unit, where at 25 he directed ambitious three-screen spectacular This is New Zealand (1970), which was seen by 400,000 New Zealanders. In the 80s he produced Oscar-nominated short The Frog, the Dog, and the Devil and established his own company, continuing a busy diet of commercial films, train documentaries and animation.
A pioneer of the commercial use of 16mm film in post-war New Zealand, Robert Steele is arguably a lost name in the local screen industry. A portrait photographer who was making amateur films in 1930, he spent several years in his native Australia before returning to NZ for good in 1937. Steele screened his films at workplaces and trade fairs, and was a major producer of commercials in the first decade of Kiwi television.
Simon Baumfield is a multi-award-winning cinematographer, whose work includes ensemble TV series Insiders Guide to Love and horror movie The Irrefutable Truth about Demons.
Dunedin businessman and artist, Fred O’Neill, whose hobby of making quirky animated films brought him international recognition, sent his Plasticine hero to Venus thirty years before Nick Park got Wallace and Gromit to the Moon. O’Neill’s films encouraged children not to take up smoking, brought Māori legends to the screen in a novel way, and entertained young viewers in the early years of New Zealand television. Image credit: Stills Collection, Ngā Taonga Sound & Vision. Courtesy of the Fred O'Neill collection.
Alongside partner Shane Loader, Andrea Bosshard makes and distributes films through indie filmmaking initiative Torchlight Films. Dominion Post critic Graeme Tuckett called the pair's second feature Hook, Line and Sinker “likeable, admirable and hugely enjoyable”. Third feature The Great Maiden's Blush was released to acclaim — and awards — in 2016.
Lynton Diggle spent almost 25 years working as a director and cameraman for the government's National Film Unit, before launching his own company. Along the way, he filmed in Antarctica and the waters of Lake Taupō, captured major salvage operations at sea, and worked alongside legendary director David Lean (Lawrence of Arabia). Diggle passed away on 23 November 2018.
Elam graduate Paul Swadel showed his eye for the artistic and the eyecatching both in his own award-winning work as a director — short films, arts programmes (Colin McCahon: I Am), commercials — and as producer: through collaborations with animator James Cunningham and on digi-feature incubator Headstrong. Swadel died in March 2016.
After time in print and television news, and nine years commanding the Wellington Film Festival, Shelton began his dream job — selling local films for the New Zealand Film Commission. During a 22 year run as the commission's first marketing director he handled sales for more than 60 feature films, including Goodbye Pork Pie, An Angel at My Table and Once Were Warriors.