Murray Reece has been the director at a number of key turning points in New Zealand's television history: from the debut of our first drama series (Pukemanu), to the first telemovie (The God Boy), to the episode of Country Calendar where Fred Dagg first showed us around the farm.
Niki Caro's near wordless Sure to Rise was nominated for best short film at the 1994 Cannes Film Festival. Four years later her debut feature Memory and Desire was invited to Cannes. Caro followed it with Whale Rider, winner of more than 27 awards, and still one of New Zealand's most successful films abroad. Since then Caro has directed everywhere from vineyards in France to mining towns in Minnesota.
Lisa Harrow's CV marks her out as one of New Zealand's most prodigious acting exports. After starring in Twelfth Night for the Royal Shakespeare Company at age 25, she got serious about screen acting in the 1980s and worked everywhere from Iceland to Australia, as well as starring in Kiwi films Other Halves and Shaker Run. Alongside her acting, Harrow now campaigns for ecological responsibility on stage and page.
Sound recordist Dick Reade's list of awards includes gongs for his work on The Navigator, Mt Zion, After the Waterfall and When Love Comes — and an Emmy nomination for TV’s Buggin’ with Ruud. In 2007 he was named SPADA/Onfilm industry champion. After more than a decade with state television, Reade went freelance in the early 80s. These days he runs his own studio in West Auckland.
Vincent Ward has won an international reputation as an original and visionary filmmaker. Vigil and The Navigator played in competition at the Cannes Film Festival (the first New Zealand features to do so). Docudrama Rain of the Children (2008) revisited people from his 1980 documentary In Spring One Plants Alone. Ward also directed Robin Williams afterlife drama What Dreams May Come.
An iconoclast with a bent for experimentation, director Paul Maunder brought the mixed flavours of social realism and the arthouse to New Zealand screens in the 1960s and 70s, before shifting stages and leaving the government's National Film Unit, to concentrate on theatre. His second feature Sons for the Return Home (1979) as the first film to dramatise the experience of Pacific Islanders living in contemporary New Zealand.
Cinematographer Stuart Dryburgh has helped create some of the most iconic images of New Zealand cinema: the girl with a mop of red hair, standing at the end of a country road in Angel at my Table; the piano on a deserted beach in The Piano, and the charged kitchen scenes of Once Were Warriors.