This collection celebrates the legendary moments that New Zealanders — huddled around the telly — gawked at, chortled with, and choked on our Choysa over as they played out on our screens. "There's a generation who remember where they were when JFK was shot", but as Paul Casserly asks in his collection primer, "where were you when Thingee's eye popped out?"
Billy Taitoko James is a Kiwi entertainment legend. His iconic ‘bro’ giggle was infectious and his gags universally beloved. This collection celebrates his screen legacy, life and inimitable brand of comedy: from the skits (Te News, Turangi Vice), to the show-stealing cameos (The Tainuia Kid), and the stories behind the yellow towel and black singlet.
Mai Time was an influential magazine show for Māori youth, exploring te ao Māori and pop culture (it was one of the first shows to screen local hip-hop), with presenters speaking in te reo and English. This one hour final looks back over the 12 years of the show, beginning with a roll call of hosts: including Stacey Morrison (nee Daniels), Quinton Hita, and Teremoana Rapley. Current hosts Olly Coddington and Gabrielle Paringatai look at the show’s impact and legacy, as well as Stacey’s “mad facial expressions”, Patara’s Stubbies and Quinton’s Peter Andre tribute.
Great adverts are strange things: mini works of magic, with the power to make viewers smile, cry, and even buy. Kiwi directors have shown such a knack for making them, they've been invited to do so across the globe. But this collection is about local favourites; dogs on skateboards, choc bar robberies, ghost chips. NZ On Screen's Irene Gardiner backgrounds the top 10 here.
This collection celebrates rugby in New Zealand as it has been seen onscreen: from classic bios and tour docos, to social history, dramas and protest. In the accompanying backgrounders, broadcaster Keith Quinn looks at the on air history of rugby in NZ; and playwright David Geary asks if rugby is a religion, and argues it is a good test of character.
Forget who shot JR or what was under the hatch ... where were you when Thingee's eye popped out, 'O' was for 'awesome', or Bob "stormed out of the bracken like a yeti" to bop Rod in the 'Tumble in Taupō'? From Wainuiomata to Guatemala this Top 10 presents the most viewed clips from the previous NZ On Screen Legendary Moments collections (in descending order).
Sam Pillsbury is a self-described American-Kiwi who has made films in both New Zealand and the US. He began his prolific career at the National Film Unit directing the notable documentaries Ralph Hotere and Men and Supermen. Pillsbury’s first feature film was The Scarecrow, starring John Carradine, which was the first New Zealand film to be invited to the Cannes Film Festival. Pillsbury co-wrote the script for The Quiet Earth, but 'fired himself' from the director role on the movie. His next major film was Starlight Hotel.
Author Maurice Shadbolt went before the cameras to play father to the main character, in this adaptation of his acclaimed coming of age novel. Teen Nick (Paul O’Shea) is estranged from his family, and blaming himself for his Māori mate's climbing death. He runs away to his straight talking grandfather (Derek Hardwick) — who takes him bush — and loses his virginity to Sally (a first film role for Rebecca Gibney). Produced by Pacific Films legend John O’Shea, the NZ-German co-production was directed by Rolf Hädrich (Stop Train 349). The film debuted in NZ on television.
Praising novel The Scarecrow, one critic argued that author Ronald Hugh Morrieson had melded genres together into “a brilliant, hallucinatory mixture distinctively his own". The movie adaptation is another unusual melding; a coming of age tale awash with comedy, nostalgia, and a touch of the gothic. Taranaki teen Ned (Jono Smith) is worried that the mysterious arrival in town (US acting legend John Carradine) has murderous designs on his sister. The masterful narration is by Martyn Sanderson. The result: the first Kiwi film to win official selection at the Cannes Film Festival.
Kim Hill interviews comedy legend John Clarke at his home in Melbourne. In this excerpt, Clarke talks about how easily humour travels and how Kiwis can be funny, and looks back at the birth of his iconic Fred Dagg character in the early 70s, with his black singlet, a hat given to Clarke by his sister, and some torn-off trousers from state television's wardrobe department. Clarke talks about New Zealand being far from alone in claiming to have a laconic, understated style of humour, and how he thinks the country is seen overseas.