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.
The ‘OE’ is a Kiwi rite of passage, but for those travelling in a Kombi van, the trip can feel “like mixed flatting in a space the size of a ping-pong table” (Peter Calder). In Kombi Nation, Sal sets off to tour Europe with her older sister and friend; they’re joined by a dodgy male and a TV crew, recording the shenanigans. Shot guerilla style after workshopping with the young cast, Grant Lahood’s well-reviewed second feature anticipated the rise of observational ‘reality TV’, but its release was hindered by the collapse of production company Kahukura Films.
Goodbye Pork Pie was a low-budget sensation, definitively proving Kiwis could make blockbusters too. Young Gerry (Kelly Johnson) steals a yellow Mini from a Kaitaia rental company. Heading south, he meets John (Tony Barry), who wants his wife back, and hitchhiker Shirl (Claire Oberman). Soon they're heading to Invercargill, with the police in pursuit. High on hair-raising driving and a childlike sense of joy, the Blondini gang are soon hailed as folk heroes, on screen and off. Remake Pork Pie (2017) was directed by Matt Murphy — son of Geoff, who drove the original film.
In this dark short film debut by director Simon Baré, newly promoted Catherine (Kirsty Hamilton) is taken to an opulent restaurant by the more worldly-wise Grant (playwright David Geary) and Sarah (Smuts-Kennedy). The evening promises a “dance with our darkest fear” — but its amoral reality utterly challenges Catherine (and makes grim Greenaway-esque irony of the title). Singer/composer Janet Roddick provides the soundtrack (Edith Piaf’s ‘Non, Je Ne Regrette Rien’) for this winner at the NZ Film Awards and Clermont-Ferrand Short Film Festival.
This April 2001 report comes from a function to farewell film salesman Lindsay Shelton. Over 22 years at the NZ Film Commission, Shelton played a key role in selling Kiwi films to overseas markets, including Goodbye Pork Pie, An Angel at My Table, and Once Were Warriors. Those on hand in Wellington to salute his efforts include Film Commission Chief Executive Ruth Harley – who praises Shelton’s "remarkable optimism about New Zealand films" – and directors Vincent Ward, Jane Campion, Peter Jackson (via video link), and John O'Shea, who calls Shelton the "backbone" of the NZFC.
Screening as Goodbye Pork Pie packed cinemas and gave hope that Kiwi films were here to stay, this 1981 TV documentary attempts to combine history lesson with some crystal ball gazing on what might lie ahead for the newly reborn film industry. Host Ian Johnstone wonders if three local movies per year might be a "fairly ambitious" target; producer John Barnett argues for the upside of overseas filmmakers shooting downunder. Also interviewed: Pork Pie director Geoff Murphy, veteran producer John O'Shea, and the NZ Film Commission's first Chairman, Bill Sheat.
Michael Heath's imagination has spawned movies bursting with murder and mayhem, as well as lyrical tales of childhood and unheralded artists. Heath's work ranges widely – some of his films are lyrical, comical and murderous all at the same time. His scripts include two contenders for New Zealand's first horror film (Death Warmed Up and Next of Kin), plus an affectionate adaptation of Ronald Hugh Morrieson classic The Scarecrow, which was the first Kiwi movie invited to the Cannes Film Festival. In recent years Heath has blossomed from writer into director.
Veteran cameraman Richard S Long has captured images everywhere from Singapore to the Southern Alps. Long's career began by shooting news for TVNZ in the mid 1970s. He then moved on to filming lifestyle and drama programmes like Heroes and Holiday. Long also did extended time directing commercials in Asia, before returning home and writing and directing his first feature Not for Children.
Lindsay Shelton's career testifies to his love of communicating, and his love of film. After working in newspapers he began a decade programming the Wellington Film Festival, while working in television news. In 1979 he joined the New Zealand Film Commission: over the next 22 years he was an enthusiastic promoter and salesman for New Zealand film around the globe.
Producer Bridget Ikin has long been a champion for women in the screen industry. Working on both sides of the Tasman, she has collaborated with many influential creatives including Jane Campion, Alison Maclean, Stewart Main, Australian director Sarah Watt, and writers Eleanor Catton and Emily Perkins.