Colin Broadley was part of the Kiwi soundtrack during a decade of dramatic change. A DJ on NZ's first pirate radio station, he was also hunky star of Runaway, the first local movie in 12 years. In 1986 'whatever happened to' style series Then Again found him in the Coromandel, where he was tending bees and living back to the basics. Broadley talks exciting times on the Radio Hauraki boat, and inside a cell; the perils of kissing Bond girl Nadja Regin in the Opononi mud; a near-fatal crash; visits to China, and his belief that modern day economics and land use are unsustainable.
The first feature from Jackie van Beek was born from the idea of three very different people in a house, after a crisis. The central character is teen runaway Tia, who after a car crash moves in with a family who are connected to the accident. To find their lead actor — newcomer Gloria Popata — writer/director van Beek and casting director Yvette Reid did an epic casting call across Aotearoa. Reid auditioned 340 people. Van Beek is best known as an actor herself, often in comic roles. She directed seven shorts, before The Inland Road was invited to debut at the Berlin Film Festival.
The golden age of rock is recaptured in a studio mock-up of the Wellington Rock 'n' Roll Revival Club. Hosted by Paul Holmes (under the name Wonderful Wally Watson), the show features Tom Sharplin and his band. Dalvanius Prime also puts in an appearance, delivering a wonderful version of 'The Great Pretender'. The show mixes studio and location sequences, as it delivers hits made famous by the likes of 50s legends Bill Haley and Chuck Berry. Actors Marshall Napier and Brian Sergent are on hand to play a couple of bodgies, referencing the milk-bar cowboys of the era.
Cowboys of Culture is director Geoff Steven's personal perspective on the Kiwi cinema renaissance of the 1970s. It traces the development of the local film industry from the ‘she'll be right' days when filming permits were unknown, and all that was needed to get a picture up were a Bolex camera, enthusiasm and ingenuity. Raw they might have been, but the films (Wild Man, Sleeping Dogs, Goodbye Pork Pie, Smash Palace) represented a vital new cultural force. The film features interviews with the major players, and clips from their movies.
This Country Calendar episode profiles Billy Riddell, one of the few remaining drovers who was still moving herds the old fashioned way in the mid 1970s: “on the hoof” (the art of droving was being supplanted by rail and livestock trucks). The episode accompanies Riddell on a ‘drive’, as he moves a herd of cattle along the East Coast. Riddell’s narration recalls stampedes, river crossings, losing dogs and stock out to sea, the joys of butter, and why townies shouldn’t be on the roads: “the roads were there before cars were even blimmin' thought of”. He also reflects on a drover’s life.
Early teleplay The Evening Paper had the same rigid (theatre or radio-derived) format as other early TV dramas of the 60s, but it did something never before seen on local screens. Written by playwright Bruce Mason, the drama dared to expose a stifling NZ suburban existence. Jaded visiting Pom, Phillip; snivelling Winsome and her domineering mother Elfrida, and passive father Ernest, proved too much for viewers, who decried the drama as inaccurate and "unfair"; in other words, The Evening Paper gave Kiwis their first on-screen dose of cultural cringe.
John O'Shea was godfather to generations of Kiwi filmmakers; he was an inspirational force committed to bringing new perspectives to the screen. As Ngati actor Wi Kuki Kaa put it, "had he been a Māori, he would have been a kaumatua years ago". This documentary backgrounds O'Shea and his pioneering indie production company Pacific Films, ranging from his efforts to put Māori on screen, to banned 60s ads. The cast provides proof positive of O'Shea's influence — amongst the ex-Pacific staff interviewed are the late Barry Barclay, Tony Williams and Gaylene Preston.
For their fourth series, the intrepid Moon TV crew set out to tour New Zealand in mobile broadcast vans. The backbone of this episode is a roadside interview with All Black Richie McCaw, who takes in stride a dodgy satellite dish and questions from a viewer about swallowing the contents of a lava lamp. Elsewhere there are appearances by show regulars Hamsterman (who does a strange dance) and Speedo Cops (dealing to a dangerous runaway trolley) — plus a Dragon's Den take-off, in which a potential financier is impressed by a vacuum cleaner refitted to make coffee.
This Depression-era road movie tails teen runaway Kate (Greer Robson) as she tags along with World War I veteran Patrick (Aussie actor Peter Phelps) — himself on the run after assaulting a repo man. The odd couple relationship grudgingly evolves as they often narrowly escape the law, and head north across the southern badlands. Director Sam Pillsbury's on the lam tale won wide praise, with Kevin Thomas in the LA Times calling it "pure enchantment". Robson's award-winning turn as the scamp followed up her breakthrough role in Smash Palace.
This sci-fi telefeature for kids follows the adventures of runaways Peter (Toby Laing) and Maggie (Toni Driscoll), who meet when Maggie’s attempt to get Picnic bars on a five finger discount go awry and "rich brat" Peter is on the lam on a 10-speed. After falling into a grave of golden light at a farm cemetery, they wake up in the house of the strange Piper family. Laing is now trumpeter for Fat Freddys Drop, and a young Kerry Fox appears briefly as a policewoman in the opening. Scripted by veteran Ken Catran, the telefeature was re-cut from a four-part series.