This Kaleidoscope profile heralds the arrival of producer Larry Parr on the global film scene, following “the Kid from Raetihi” in his Jaguar from the hometown premiere of Came A Hot Friday (at that point the second most successful NZ film at the box office) to the Auckland offices of his company Mirage. In spite of the shoulder-padded, aspirational 80s framing, Parr talks about more troubled productions (eg. Pallet On The Floor) and the need for less self-conscious local cinema, with disarming honesty. Billy T James and Ian Mune provide character references.
This Philip Temple-scripted episode of Our People, Our Century covers stories of New Zealanders and their turangawaewae: a piece of land they call their own. The importance of the land to farming families, and to the economy of NZ is explored through the eyes of three families. Elworthy Station in South Canterbury is being farmed by a 5th generation Elworthy. Two elderly ladies reminisce on their childhood in remote Mangapurua, near Raetihi in the central North Island. And a Māori family in Taranaki reflects on their decision to sell the family farm.
In this full-length episode, Heartland visits the heart of the North Island: the Waimarino district at the foot of Mount Ruapehu. Host Gary McCormick hits town in time for the yearly Waimarino Easter Hunt. In Ohakune he talks to a policeman about a strange case of streaking near the town's famously oversized carrot, visits an equally overized collection of salt and pepper shakers, then sets off on an early morning pig hunt. Vegetarians be warned: many expired members of the animal kingdom make guest appearances.
In this 2013 short, a possum-trapping nature boy is challenged when a woman moves into a house on the edge of the bush, looking for a fresh start. Cinematographer Ginny Loane captures the wintry central plateau landscape where the fable of life and death plays out. Director Leo Woodhead co-wrote the script with Paul Stanley Ward; the result followed Woodhead’s short Cargo (2007) to the Venice Film Festival, and won the Jury Prize at the 2014 Hong Kong Film Festival. Director Andrew Adamson (Shrek) called it “a well structured, beautifully shot narrative.”