Cushla Dillon was a newbie editor when she worked on the TV series and film Topless Women Talk about Their Lives. Dillon won an NZ Film editing award for her work on the movie, then went on to cut an impressive list of documentaries, shorts and feature films. Notable documentaries she has worked on include The Price of Peace and The Confessions of Prisoner T. Dillon’s feature credits include Orphans & Kingdoms, The Price of Milk and Snakeskin (which she edited with Marcus D'Arcy).
Bryan Shaw is a multi award-winning editor who has worked on a wide range of documentaries and dramas. Among the documentaries are Sense of Place: Robin Morrison, Photographer; Back from the Dead – The Saga of the Rose Noelle; and series An Immigrant Nation. Shaw moved into editing dramas with Street Legal, then went on to edit a number of other drama series including Outrageous Fortune, Westside, The Almighty Johnsons, and Spartacus.
Editor Annie Collins has worked with some of New Zealand's most provocative directors, including Barry Barclay (The Neglected Miracle), and Merata Mita (Patu!) over a 30 year editing career. Collins has also edited key feature films including Scarfies, Out of the Blue, and Shopping, and was part of the editing team on Peter Jackson’s The Lord of the Rings.
Internationally successful Kiwi film producer Finola Dwyer began her career as an editor at the National Film Unit and then moved on to editing and producing at TVNZ. Dwyer migrated over to the film industry and worked as an editor and producer. Some of the memorable New Zealand films she worked on include Came a Hot Friday, Starlight Hotel, and The Quiet Earth. In the 90s, Dwyer moved to the UK where she has made a name for herself producing films such as Backbeat, An Education and Dean Spanley.
Award-winning editor Peter Roberts runs post production company RPM Pictures, and has worked on a wide range of TV shows and films. His TV credits include Gloss, God, Sreenu and Me, Legend of the Seeker and Artsville. His film work includes The Dark Horse, Hip Hop-eration, The Most Fun You Can Have Dying and 50 Ways of Saying Fabulous.
Producer Pat Cox instigated Kiwiana classic Footrot Flats: The Dog's (Tail) Tale and has produced some of New Zealand’s most iconic commercials, including the long-running Speights 'onya mate', Mainland Cheese 'these things take time', and the 100% Pure NZ tourism campaigns.
Mike Horton is an award-winning editor who has worked on some of New Zealand’s most beloved films. His CV includes classics Goodbye Pork Pie, Smash Palace, Utu and Once Were Warriors. Horton was nominated for an Oscar for editing Peter Jackson’s The Two Towers, and his one regret is not editing the final film of The Lord of the Rings trilogy.
Philly de Lacey is the Managing Director of production company Screentime NZ. Screentime has produced a number of crime documentaries and dramas, and De Lacey has been involved with many of them as Executive Producer. Her credits include documentary series Police Ten 7, Water Patrol and Marae DIY; and the dramas Bloodlines, Siege, Safe House and Underbelly: Land of the Long Green Cloud.
Stu Dennison was a much-loved TV presenter in the 1970s who introduced his ‘naughty schoolboy’ character and thumbs up to a generation of Kiwi kids, on show Nice One Stu. Sometimes he played sidekick to popular TV host Roger Gascoigne. After Dennison ended his on-air career, he re-invented himself as a sports producer at TVNZ.
Rosemary McLeod devised sitcom All Things Being Equal and iconic 80s TV soap Gloss. Best-known for her outspoken columns, she talks in this extended Funny As interview about battling sexism in the 1970s, and more, including: Gloss being the most fun she had in her television career, and laughing uncontrollably with producer Janice Finn Being told her voice was too deep for the radio, because it would "make men think of bedrooms" Falling into journalism after submitting a piece to the Sunday Times about a weird weekend spent with hippies Memories — comedic and emotional — of her time in Australia writing and script editing sitcoms for the ABC Hating women being portrayed as passive and witless in 1970s TV comedies, which motivated her to write more complex parts (e.g. Ginette McDonald's character in sitcom All Things Being Equal) Finding her schtick of "offending and annoying" people, when she started writing and cartooning about feminists in The Listener