Roger Donaldson is notable for spearheading the New Zealand film renaissance with Sleeping Dogs (1977). He has been busy directing in Hollywood for much of the period since. Donaldson's first Kiwi story since acclaimed drama Smash Palace (1981) was Burt Munro biopic The World’s Fastest Indian (2005) — the most successful New Zealand film on home soil until the arrival of Taika Waititi's Boy in 2010.
Special effects man and designer Richard Taylor got his break making puppets for 1980s comedy series Public Eye. He has gone on to become a key part of the Weta effects empire, supervising the creation of orcs, zombie mishaps and miniature cities for movies and TV shows. A passionate advocate for Kiwi talent, Taylor and his team have scored five New Zealand screen awards, four BAFTAS and five Academy Awards.
Rob Whitehouse began his producing career in style with The Scarecrow, the first Kiwi film to win official invitation to the Cannes Film Festival. In tandem with late producing partner Lloyd Phillips, he brought Hollywood down under for Battletruck and big-budget adventure Savage Islands, and made mini-series Heart of the High Country. Since then he has produced and financed films in the US, UK and beyond.
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.
Laurie Clarke began his career in 1983, as an editor for Australia’s ABC. Back home for the birth of TV3, he later spent nine years directing and producing for news show 20/20. Clarke is currently a company director at Top Shelf Productions; his list of credits includes Target, What's Really in Our Food, Making New Zealand, Heritage Rescue, and long-running media commentary show Media Take.
Although better known as a songwriter and champion of New Zealand music, Arthur Baysting has also made a number of contributions to the screen. In the 1970s he was a scriptwriter on breakthrough dramas Winners & Losers and Sleeping Dogs, while his white-clad alter ego Neville Purvis graced cabaret stages and a short-lived TV series. Since then he has concentrated on writing songs and screenplays.
Gaylene Preston has been making feature films and documentaries with a distinctive New Zealand flavour and a strong social message for over 30 years. In 2001 she was the first filmmaker to be made a Laureate by the Arts Foundation, recognising her contribution to New Zealand film and television.
Peter Jackson has gone from being a shy, unknown fanboy making pastiche versions of his favourite fantasy movies, to a renowned master of his craft; from Pukerua Bay to Wellywood: today he has few peers in the realm of large scale filmmaking.
After helping out on Peter Jackson's debut feature Bad Taste, Cameron Chittock went on to design and help create 90+ puppets for Jackson's ambitious creature feature Meet the Feebles. Since then, Chittock has worked on children's shows for TV3, and created and directed a range of animated TV shows — including claymation export Oscar and Friends and Australian-Singapore co-production Bottle Top Bill.
Mark McNeill has been making documentaries for over 20 years. Along the way he has shown a knack for offbeat factual programming, including work with Te Radar and psychologist Nigel Latta. In 1999 McNeill launched company Razor Films. He and Latta went on to reshape The Politically Incorrect Parenting Show for a primetime Australian slot. In 2018 McNeill become the first Kiwi producer to make a series for Netflix.