Record label Flying Nun is synonymous with Kiwi indie music, and with autonomous DIY, bottom-of-the-world creativity. This collection celebrates the label's ethos as manifested in the music videos. Selected by label founder Roger Shepherd: "A general style may have loosely evolved ... but it was simply due to limited budgets and correspondingly unlimited imaginations."
This Kiwi neighbours at war ‘dramedy’ pitted the Rush family — newly arrived in Ponsonby —against the Shorts, who are long-time renters next door. Arthur Short (Patrick Wilson) is a Kiwi battler solo Dad, with two teenage daughters; Dimity Rush (Danielle Cormack) the right wing HR manager whose partner is an anaesthetist, with two teen sons. In this first episode, Dimity aspires to climb the property ladder by scheming to get the Shorts’ house as an investment doer-upper. The satire of gentrification screened on TV One on Friday nights. The cast includes Rose McIvor (iZombie).
The fall of the Iron Curtain was still several years away when Shona Laing wrote her first APRA Silver Scroll winner 'Soviet Snow'. The world had been "teasing at war like children" over decades of the arms race and Cold War brinksmanship and the threat of nuclear winter was very real. The video is a suitably chilly but dizzying montage that marries Russian iconography and Soviet imagery to the song's urgent synthesised beats. Laing later stripped 'Soviet Snow' of its synthpop trappings in an acoustic version on her 2007 album Pass the Whisper.
The set has a back-drop curtain made out of milk bottle top foil; the band are wearing plastic rubbish sacks fashioned into tunics, and have painted faces. The props include a disco mirror ball, a toilet seat sculpture, a giant bug, and umbrellas. It's all slightly off-beam, but the band's performance is deadpan sweet. There’s the requisite Flying Nun film scratching, and some literal-but-amusing image and lyric matching. It all combines to make a DIY delight, an effortless two decades before Flight of the Conchords or Mighty Boosh.
Havoc and Newsboy took the malarky of their 90s youth show on the road in this 1999 series. This episode sees the pair talking intelligence. In Wellington they spy on Keith Quinn, simulate an earthquake and hang out outside Defence HQ with journalist Nicky Hager, to talk SIS surveillance and silver protective curtains. The intrepid duo follow Hager's leads to "the most secret place in New Zealand": the Waihopai intelligence base near Blenheim. “We went and did a dance, trespassed and left our masks on the front gate”. On the ferry en route, Newsboy pays homage to song 'Montego Bay'.
In this episode of Fourth Estate, journalism lecturer Brian Priestley ruefully brings down the curtain on state TV's media commentary show. After 12 years of scrutinising newspapers, radio, magazines and TV, Priestley offers parting awards for "the most memorable people, programmes or papers since 1976". He also gently snipes at the decision to can his show (which he points out still rates as well as Miami Vice). While full of praise for the achievements of some outlets and journalists, Priestley sees a difficult future ahead for a media under threat from trivialisation and superficiality.
On 11 December 2015 the morning telly watching nation mourned the end of a long-running TV One staple. Good Morning’s 9000 hours spanned nearly two decades, from faxes to Facebook. In this final episode, presenters Jeanette Thomas, Matai Smith and Astar wrangle a two-hour curtain call of ex-hosts. Included are the last Men’s Panel, cooking bloopers, and of course, advertorials (with a Suzanne Paul tribute, and a promo for Stiffy fabric stiffener). There’s tautoko to the show’s te reo, support for the arts, and disaster appeals, and Shortland Street's Will Hall lip synchs to Def Leppard.
This 2015 edition in the Loading Docs series explores the past, present and future of Crystal Palace, a dilapidated but stately theatre on Auckland’s Mt Eden Road that has been drawing the curtains since the 1920s. Co-directed by Karl Sheridan and Robin Gee, who work under the Monster Valley moniker, the documentary canvasses the spilled Jaffas, dances, surf film screenings and local legends of the venue — and is also a plea to bring the ballroom and cinema back to life. In March 2016 Monster Valley answered their own call, and took over management of the theatre.
This cautionary tale about the perils of lost love comes from singer-songwriter Greg Johnson's third album Vine Street Stories (named for the address of the Auckland house where it was recorded). Director James Holt (a flatmate at the time) shot the clip on 35mm and gave it a rich, golden-hued setting of brocades, leathers, candles and curtains to showcase musicians including Pagan Records founder (and broadcaster) Trevor Reekie and Johnny Fleury (father of Zowie) on Chapman Stick. Boh Runga contributes vocals (around the time she formed her own band Stellar*).
In 2013 actor/director Peter Tait invited a team of actors to an Auckland bar to perform a read-through of a script, involving strange aquatic substances and opportunistic robbers. His plan: a film within a film where thespians and real-life bar owners play versions of themselves. At its heart, Not Set in Stone celebrates the actors — their talent, willingness to send themselves up, and generosity towards low budget projects like this one. The in-jokes include screen veteran Greg Johnson as a wannabe actor, and a final curtain cameo by Jacinda Ardern and Oscar Kightley.