Animated plasticine. Talking chickens. Dancing Cossacks. Plus old favourites bro'Town, Hairy Maclary and Footrot Flats. From Len Lye to Gollum, feast on the talents of Kiwi animators. In his backgrounder to the Animation Collection, NZ On Screen's Ian Pryor provides handy pathways through the frogs, dogs and stop motion shenanigans.
'No 8 wire' Kiwi ingenuity is defined by problem solving from few resources (No 8 wire is fencing wire that can be adapted to many uses, an ability that was particularly handy for isolated NZ settlers). Embodied in heroes from Richard Pearse to PJ, Kiwi ingenuity is a quality dear to our national sense of self. It has been memorably celebrated, and sometimes satirised, on screen.
It’s Samoan Language Week and Tom Natoealofa says “Talofa!” to kick off Tagata Pasifika's Aotearoa award-nominated coverage of the 2011 Polynesian Blue Pacific Music Awards. Natoealofa co-hosts with Angela Tiatia, from the TelstraClear Pacific (now Vodafone) Events Centre in Manukau. The awards honour everything from gospel to urban. Nesian Mystik take out a trifecta including the big one, and Ladi 6 also wins. In the last clip Annie Crummer picks up a Lifetime Achievement gong, and the Ponsonby Methodist Church Choir perform her song ‘See What Love Can Do’.
This interview with Prime Minister John Key is taken from the January 2014 debut episode of Paul Henry’s late night TV3 show. Displaying the informal style that marked his tenure, Key banters with Henry about playing golf in Hawaii with US President Barack Obama, and responds to the hard questions, eg whether it would have been better in hindsight for John’s son Max to have not beaten the President. It’s election year and the pair discuss coalition options: the Māori Party, Peter Dunne and Winston Peters. Henry pulls out four photos, and asks which of them can be trusted.
This cover by Ted Brown and the Italians of the 1966 hit for the La De Da's focuses on the rock in the psychedelic rock original. Directed by Chris Jackson (Impressions), the no-frills video is all moody blues and reds, cut together with Brown and the band seen in naturalistic colour through a fisheye lens. Brown had won a Tui NZ Music Award for Most Promising Male Vocalist the previous year. Trivia: the Artie Kornfield and Steve Duboff-penned song was also covered by The Bangles. In 1995 Darryl 'DLT' Thomson remixed Brown’s version as the theme music for TV3 music show Frenzy.
Nathan Rarere landed a presenting role on What Now? in the 90s, but turned it down because he didn't want to be on TV. Eventually he changed his mind.
Kerry Warkia started her career as an actress, but is increasingly making a name for herself as a successful producer in the web world. She is the producer of Auckland Daze, Flat3, and Nia’s Extra Ordinary Life. Warkia and her husband Kiel McNaughton run production company Brown Sugar Apple Grunt, and are two of the key creative forces behind hit Māori Television show Find Me a Māori Bride.
In 1973 EMI producer Alan Galbraith amassed a supergroup of Kiwi musicians to provide session music for the label’s artists, including singer Mark Williams. The band’s first line-up was Wayne Mason and Carl Evensen (The Fourmyula), Keith Norris and Clint Brown (Rebirth, Taylor) and Bruce Robinson (Face, The Pleazers). Rockinghorse released two albums of their own, and won gongs for Best Group and Single at the 1975 RATA Awards. The band's celebrations led to a year-long ban from the Lion Breweries pub circuit.
This Māori Television series follows South Auckland dance crew The Palace as they prepare for the World Hip Hop Dance Championships, and a shot at their fourth title. This first episode films open auditions where dancers, including two gay brothers from Tokoroa, hope to join 'The Royal Family'. Led by choreographer Parris Goebel — who talks here about her method and early days — the crew have won global fame, including bringing its 'Polyswagg' to the hit video for Justin Bieber’s Sorry. There are also scenes of Goebel choreographing 2015 Kiwi movie Born to Dance.
Chris Knox's grungy collage-style clip suits this mournful song perfectly. The sequence offering multifarious images of what “turning brown” might mean — from a deep tan to race-swapping — is a particular delight. The shot of Knox's daughter Leisha as a toddler, with the scratched in message "there is always hope" gives the clip a surprisingly poignant ending. In his ScreenTalk interview for NZ On Screen, Knox recalled it was a technical problem that led to him scratching directly onto the film, in the style of his hero Len Lye.