This film records the devising of a “work in progress” by theatre director Ashley Thorndyke (Jason Hoyte). The concept — by Duncan Sarkies (Two Little Boys, Scarfies) — mocks the gamut of thesp and drama school cliches: from ‘wanky’ director to wacky warm-up exercises (animal impersonations, primal screams, Love Boat theme song). Peter Burger, fresh out of Broadcasting School, co-directs, and the willing cast is drawn from the 90s Wellington theatre scene orbiting around Bats and Victoria University. Future Conchord Jemaine Clement memorably learns to get loose.
This item from arts show Kaleidoscope looks at Vincent Ward's first two features, Vigil and The Navigator. The director talks about the madness of the Cannes Film Festival, echoes Jack Nicholson's view that women are "a lot smarter than men", and explains why a nuclear sub turns up in The Navigator. He visits his parent's Wairarapa farm, where they remember him as a straightforward and easygoing child. Fiona Kay provides unsparing memories of starring in Vigil as a child, and the film's co-writer Graeme Tetley admires Ward's courage in tackling "big issues" like guilt and betrayal.
In this excerpt from the 1996 TV One arts series, presenter Alison Parr interviews the NZ Film Commission's longtime marketing director Lindsay Shelton about the international success of Kiwi films. Shelton attributes the recent popularity of Once Were Warriors and Heavenly Creatures to Kiwi stories being different and new — "everything in our films was unexpected". Roger Donaldson, Geoff Murphy, Jane Campion and Peter Jackson are mentioned, with special note of Jackson's "confidence and wish" to stay in New Zealand's "tiny as well as fragile" film industry.
This half-hour portrait of actor and director Ian Mune kicks off at a family wedding. In-between clips illustrating his career, Mune reflects on life as a storyteller, "bullshitter" and goat farmer. He reveals his adaptation process, his loss of confidence after directing Bridge to Nowhere, and how had no idea what he was doing on Sleeping Dogs. He also warns of the dangers of being boring, and the challenges of pulling off a decent commercial. Two years after this documentary aired, Mune returned to glory with the release of his passion project The End of the Golden Weather.
In 1983, director Geoff Murphy stormed out of the scrub of the nascent Kiwi film industry with a quadruple-barreled shotgun take on the great New Zealand colonial epic. Set during the New Zealand Wars, this tale of a Māori leader (Anzac Wallace) and his bloody path to redress 'imbalance' became the second local film officially selected for the Cannes Film Festival, and the second biggest local hit to that date (after Murphy's Goodbye Pork Pie). A producer-driven recut was later shown in the United States. This 2013 redux offers Utu “enhanced and restored”.
Cannes is the town in France where Bergman meets bikinis, and the art of filmmaking meets the art of the deal. In 1975, a group of expat Kiwis managed to score interviews with some of the festival's emerging talents, indulging their own cinematic dreams in the process. Werner Herzog waxes lyrical on the trials and scars of directing; a boyish Steven Spielberg recalls the challenges of framing shots during Jaws; Martin Scorsese and Dustin Hoffman talk a gallon. Six years later interviewer Michael Heath's debut script The Scarecrow would be invited to Cannes.
Screen taonga Ramai Hayward has lived many lives, and this Koha special touches on most of them. Still vibrant at age 73, Hayward climbs a favoured apricot tree from her Wairarapa childhood, kickstarting a journey through old haunts and celluloid: the school where she produced a play at 12, the photo studio she commanded during WW2, and the sprawling Mt Eden house that was filmmaking HQ for her and husband Rudall Hayward. Ramai also recalls pioneering films shot in China, an encounter with Chairman Mao, and bullying tactics by the CIA.
Half-hour documentary Paper Boat uses off-screen interviews to follow the process of creating a book, from idea to book store. The chapters are built on interviews with an author; editor; designer; a printer and a binder; and finally a bookseller and a librarian — the latter talks about libraries as places of welcome and acceptance. The film's title was inspired by Gregory Kan's poetry collection This Paper Boat. Writer and ex librarian Alex Mitcalfe Wilson's debut film was one of three "advocating for art on the margins", which debuted on website The Lumière Reader.
Five years after the Treaty of Waitangi's signing, tension between British and Māori was at boiling point. In the middle of nowhere in Northland, chief Te Ruki Kawiti devised a plan to fight back. His masterpiece was Ruapekapeka, a state of the art pā with underground tunnels, deep trenches and artillery bunkers. Journalist Mihingarangi Forbes visits the site to investigate how Māori — outnumbered four to one — survived a 10 day British bombardment. Produced by Great Southern Television and Radio NZ, NZ Wars won awards for Best Documentary, Māori Programme and Presenter.
Savouring the chance to demonstrate that Kiwi cinema is about far more than the usual suspects found on so many top 10 lists, critic Tim Wong provides his own angle on the topic in this film, narrated by Luminaries author and occasional actor Eleanor Catton. Ranging widely — from experimental works, to an often forgotten contender for first Kiwi horror movie — Out of the Mist marked the first of three essay films aiming to “advocate for art on the margins”. Director Wong founded film and arts website The Lumière Reader in 2004.