Starting with the National Film Unit in 1943, Bob Allen’s career as a motion picture sound recordist covered six decades. Based in the UK from 1953, he worked with well-known directors including Fred Zinnemann (Allen's work on The Day of the Jackal was BAFTA-nominated). He returned to his homeland to share his knowledge and experience as New Zealand feature filmmaking blossomed; and later to retire.
Christchurch editor, artist and animator Ken Clark turned a childhood passion for magic and monsters into stop motion animation. After making student films, a decade at TVNZ saw him editing staples across news, sport, and children's programming. He also designed titles for After School and CGI for What Now?. Since 1990 Clark has tutored in animation; his shorts have shown in galleries and festivals.
With a background in film publicity in England, Nigel Hutchinson emigrated to New Zealand in 1974. After co-founding production company Motion Pictures, he went on to direct a run of award-winning TV commercials, and co-produce Kiwi movie landmark Goodbye Pork Pie. He passed away on 23 March 2017.
Trevor Spitz, who died in March 2012, was a key player in the 1989 launch of channel TV3. The musician turned promoter had begun working in television in the 70s as a talent scout and producer of entertainment shows, and won success — and controversy — with hit television export That's Country. He was influential in the careers of many performers, including comedic duo McPhail and Gadsby and singer Suzanne Prentice.
Globetrotting New Zealander Len Lye was a gifted innovator in many areas of the arts — film, painting, sculpture, photography, and writing. Inventing ways to make films without a camera, he became one of the pioneers of the genre later known as the music video. Later he moved to New York's Greenwich Village and became a leading figure in the kinetic art movements of the 1950s and 60s.
An ideas man who campaigned for a Government film body, Stanhope Andrews would become the National Film Unit's first manager. Andrews commanded the Unit for a decade. Along the way he oversaw dramatic expansion, set up regular newsreel Weekly Review, and opened the door to filmmakers of both genders.
A pioneer of computer-generated imagery in New Zealand, John Sheils helped conjure angry cave trolls, flying buzzy bees and herds of roaming TV sets. Time as a camera operator fueled his interest in images unconstrained by gravity or nature. Sheils went on to work on The Fellowship of the Ring, Perfect Creature, Spartacus, and a run of video games and adverts — plus Red Scream, NZ’s first CG short film.
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.
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.
Peter Blake introduced more local content to popular music shows Ready to Roll and Radio with Pictures at a time when covers of overseas songs were the norm. The longtime musician began in television via 1970s music programme; Grunt Machine, and ended up in charge of a stable of shows. He has also composed music for everything from TV One's nightly News theme to drama Shark in the Park.