Although best-known for his work in Australia, producer David Hannay was New Zealand born and raised. Hannay, who passed away on the last day of March in 2014, was an enthusiastic producer and film lover whose 50 plus credits included Anglo-Kiwi mini-series Savage Play, movie Solo, and cult Aussie biker classic Stone.
Following small parts on television, Peter Kaa won a trio of choice screen roles: an episode of breakthrough Māori drama series E Tipu e Rea (1989), sketch comedy show Away Laughing, and a central role in Barry Barclay's second feature, Te Rua. Kaa played a poet and activist fighting to return Māori carvings from a German museum. Four years later he got another big role in mini-series Savage Play, as a member of the New Zealand Natives rugby team which toured Great Britain in 1988. Kaa went on to direct plays for Māori theatre company Taki Rua, and act in Shortland Street and anthology series Mataku.
Wellington-born Jonathan Hardy, who died in July 2012, was an actor for more than four decades. Along the way he was on stage in New Zealand, Australia and England, and on screen in Kiwi classic The Scarecrow and a run of Australian projects. Hardy also co-wrote Constance and Aussie classic Breaker Morant, in the process becoming the first New Zealander to be nominated for a scriptwriting Academy Award.
Andy Anderson began drumming and singing as a Hutt Valley teenager. Since then his diverse trans-Tasman performing career has included playing in rock bands, starring as Sweeney Todd and the Pirate King on-stage — plus more than 50 acting roles on-screen, often playing rogues and diamonds in the rough, in shows from Roche, Gloss and Marlin Bay, to The Sullivans.
Libby Hakaraia has an overflowing kete of credits, covering subjects from Fat Freddy’s Drop to Apirana Ngata, Anzac Day to Anne Salmond. The ex-radio journalist had a screen apprenticeship at Kiwa Productions, where she made many docos on Māori themes. Based in Otaki, she now produces shows with partner Tainui Stephens under the Blue Bach banner, including the popular Māori Television reboot of It’s in the Bag.
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.
As an intrepid young cameraman for the National Film Unit, Don Oakley travelled to remote parts of New Zealand and brought to the screen scenes of the recently-rediscovered takahē, Opo the dolphin, and life in the backblocks. In a lengthy career, he also filmed in the studio and overseas, rising to be chief cameraman of the NFU.
His name was synonymous with entertainment in New Zealand. Dubbed Ol' Brown Eyes — Māoridom's version of Frank Sinatra — Howard Morrison's voice and charisma carried him through decades of success both here and abroad. From the Howard Morrison Quartet to time as a solo performer, Morrison's take on songs like 'How Great Thou Art' ensured his waiata an enduring place at the top of local playlists.
A passionate advocate for Māori creative control, director Merata Mita (1942 — 2010) chronicled landmark moments of protest and division in Aotearoa. Her work included Patu!, a documentary on the 1981 Springbok tour, and Mauri (1988), only the second feature to have a Māori woman as director. She features in documentaries Merata: How Mum Decolonised the Screen and Merata Mita - Making Waves.
Having already established herself as a playwright, Norelle Scott made the transition to screenwriting by co-writing early Alison Maclean short film Rud's Wife. She then began amassing a CV of screen credits, including Shortland Street, Marlin Bay and cop series Shark in the Park. Currently based in Los Angeles, the former actor and writing lecturer continues her work as a screenwriter, script consultant, and playwright.