David Blyth cemented his place in the Kiwi filmmaking renaissance with two films that left social realism far behind: 1978 experimental feature Angel Mine, and 1984's Death Warmed Up, New Zealand's first homegrown horror movie. Since then Blyth's work has included family friendly vampire film Moonrise, a number of documentaries on war, and varied works exploring sexuality.
David Coulson trained to be a director, but instead discovered a passion for editing. He joined TV One and worked on a range of programmes including Mortimer's Patch, before going freelance in the early 80s. Since then he has won awards for his work in feature films and commercials, and established an ongoing working relationship with Niki Caro, editing all her features from Whale Rider onwards.
Kiwi Chris Dudman studied film at Ilam and London’s Royal College of Art; his graduation short was nominated for a student Oscar. After working on arts documentaries in the UK, Dudman returned to NZ in 1995. Since then he has directed drama shows (the high-rating Harry), documentaries (The Day that Changed My Life), attention-grabbing shorts (Choice Night), and a number of high profile ads for his company Robber’s Dog.
Composer Marc Chesterman has brought his experience of playing drums in bands and sound designing for the theatre, to the screen. Chesterman has worked on a run of films with director Florian Habicht, including composing the soundtrack for Woodenhead and Spookers. He has composed music for Zia Mandviwalla short Eating Sausage, and was sound designer for Rita Angus documentary Lovely Rita.
Filmmaker and artist Gaylene Barnes has used her grab bag of skills on film sets, in editing suites, and as a painter and multi-media artist. Nominated for awards as both a production designer and an editor, Barnes has also directed everything from Hunger for the Wild to documentaries and animated shorts.
Tim White began his career producing fellow student Vincent Ward’s A State of Siege, and later joined him on the epic Map of the Human Heart. With a penchant for working with emerging talent, he has produced a run of films on both sides of the Tasman. His long slate — from Heath Ledger breakthrough Two Hands, to the acclaimed Out of the Blue — has established White as a leading Australasian producer.
Sima Urale, Samoa’s first female filmmaker, has brought touching stories of Pacific peoples to the screen, often from an NZ outsider’s point of view. Urale credits her film success to determination and dealing with social issues close to her heart. Her lauded shorts (O Tamaiti, Still Life) were followed by her 2008 feature debut Apron Strings. Urale has also spent time as head tutor at Wellington's NZ Film and Television School.
After cutting his teeth commanding action scenes for Hercules: The Legendary Journeys, Charlie Haskell has gone on to direct a range of television dramas: from the American-funded Xena: Warrior Princess and Jack of All Trades, to local productions Tangiwai: A Love Story, The Almighty Johnsons, and the Moa-nominated Pirates of the Airwaves.
After a long tenure as a newspaper journalist, Colin Hogg moved into television where he has worked as a writer and producer mainly on documentaries and arts programmes, initially with Greenstone Pictures, and now with his own production company 3rd Party Productions. Hogg was also a regular panelist on the TV ONE advice show How's Life?.
New Plymouth-bred Rodney Charters borrowed a wind up Bolex camera from his dad to make stylish short Film Exercise (1966). It helped win the Elam student a place at London's Royal College of Art. After two decades of filming adverts and documentaries globally, he began amassing more than 50 credits in Hollywood. Charters has framed high profile US TV dramas from Dollhouse and the remake of Dynasty, to 24 (for which he was twice Emmy nominated). He also shot Michael Caine robbery movie Going in Style. In 2013 Charters won a Career Achievement in TV Award from the American Society of Cinematographers.