Kea - Mountain Parrot

Television, 1993 (Full Length)

This documentary tells the story of the inimitable kea. The 'Clown of the Alps' is heralded as the world’s smartest bird (its intelligence rivals a monkey’s). Kea are famous on South Island tracks and ski fields for their insatiable (and destructive) inquisitiveness. Curiosity almost killed the kea when it was labelled a sheep killer, and tens of thousands were killed for a bounty. After shots of baby kea being fed, there is extraordinary night footage in clip four of the 'avian wolf' in action. The award-winning film makes a compelling case for the charismatic kea as a national icon.

Hair

Television, 1993 (Full Length)

Apemen, Barbie dolls, and hairy shoes ... as this documentary demonstrates, hair turns up everywhere — or not, as one man's poignant and matter-of-fact testimony to the horrors of losing it demonstrates. Hair's co-director, artist Judy Darragh, uses her fascination with all-things hirsute as a springboard for wit, thought-provoking theories, and some unusual artwork. She also phones Welsh author Elaine Morgan, who believes our ancestors lost much of their hair thanks to a semi-aquatic past. Producer Fiona Copland joins Darragh as co-director. 

Exhuming Adams

Television, 2005 (Full Length)

Exhuming Adams investigates the mysterious disappearance of a species of New Zealand mistletoe 50 years ago. Set among dusty museum collections, high-tech labs, and remote bush, this documentary is a natural history CSI. A canny forensic investigation, taking in preserved bellbird skins, last witnesses and CGI modelling, reveals the chain of events leading to the unique plant's extinction, and a surprising culprit. Directors Brant Backlund and Thassilo Franke won the BBC Best Newcomer Award at the prestigious WildScreen film festival 2006.

50 Years of New Zealand Television: 7 - Taonga TV

Television, 2010 (Full Length Episode)

This edition in Prime’s television history series surveys Māori programming. Director Tainui Stephens pairs societal change (urbanisation, protest, cultural resurgence) with an increasing Māori presence in front of and behind the camera. Interviews with broadcasters are intercut with Māori screen content. The episode charts an evolution from Māori as exotic extras, via pioneering documentaries, drama and current affairs, to being an intrinsic part of Aotearoa’s screen landscape, with te reo used on national news, and Māori telling their own stories on Māori Television.

The Nightwatchman

Short Film, 1993 (Full Length)

Set in a world where animal is vegetable and the creepy crawlies are just that, this short film showcases the trippy talents of animators Joe Wylie (Kiwi classics Te Rerenga Wairua, Bride of Frankenstein) and John Robertson (internationally lauded for his commercials work). Following a nightwatchman whose meddling kicks evolution into overdrive at the pesticide factory, the film injects a chirruping, clanking ambient score into a petri dish of Naked Lunch, The Fly and and some B-movie black comedy. It was selected for France's Annecy Animation Festival in 1993.

Real Lives - Ponsonby Road

Television, 1988 (Full Length Episode)

This 1988 TVNZ documentary looks at Ponsonby through the eyes of some of its oldest identities. It's a pivotal time in the Auckland suburb's evolution from working class preserve to upmarket retail destination and residential area. Gentrification is taking hold, as older residents move on or are forced out by rising property prices. But there are still traces of the old Ponsonby to be seen in the fabled Gluepot tavern, op shops, drop-in centres and a dizzying array of eateries — and there are memories of when Michael Joseph Savage was the local MP.

Skin and Bone

Television, 2003 (Full Length)

Twenty three years after Foreskin's Lament became a Kiwi cause célèbre, writer Greg McGee brought his classic play to television. Skin and Bone "asset strips" and updates the story to reflect rugby (and society's) evolution. Here Seymour (Outrageous Fortune's Antony Starr) — falteringly pursuing a professional career — returns home to play a last game for his rural club side. The brutality he witnesses leaves him questioning the morals of the code. The role of the old guard coach is reprised by Roy Billing, in McGee's opinion "the first and definitive Tupper".

Sons for the Road

Television, 2004 (Excerpts)

Auckland's Massive Company began in 1998 as a youth theatre group, committed to developing multicultural talent. Sons for the Road records a big moment in their evolution: performing at London's Royal Court Theatre, whose long history includes launching another piece of cross-cultural fertilisation, The Rocky Horror Picture Show. Their play is The Sons of Charlie Paora, a tale of rugby players and troubled male identity developed by Massive and UK writer Lennie James (who would later join the cast of hit The Walking Dead). The Independent called the play "wonderfully engaging".

Making Music - Wayne Mason

Short Film, 2005 (Full Length)

Wayne Mason — multi-instrumentalist and composer of The Fourmyula classic 'Nature' — talks about songwriting and his musical evolution in this episode, from a series made for high school students. He demonstrates his piano playing (on an energetic boogie-woogie work out) and a Scandalli accordion on 'High and Dry' (which he wrote in the Warratahs). He discusses the origins of 'Nature', and his songwriting technique (which always begins on a guitar); and muses on his high school band The Fourmyula which took him to Abbey Road, where he met The Beatles.

Rotorua Lookabout

Short Film, 1969 (Full Length)

This 1969 film promotes the attractions, industry and history of “contemporary Rotorua”, from the Arawa canoe to forestry, from mud pool hangi to the Ward baths (“heavenly for hangovers”). The score is jazz, and the narration is flavoured by the impressive baritone of opera singer Inia Te Wiata (father of actress Rima), who gushes about geysers and Rotorua’s evolution from sleepy tourist backwater to modern city and conference centre. Also featured: kapa haka, meter maids in traditional Māori dress, and a rendition of classic song ‘Me He Manu Rere’ in a meeting house jive.