Hamish McFarlane's screen career began when he was only 11 — he won a NZ Film Award after starring as a boy on a quest for survival, in Vincent Ward classic The Navigator: A Medieval Odyssey. After co-starring in kidult show Strangers and a few further screen roles, he moved behind the camera to be an assistant director. Since then he has worked on both TV and movies, including Super City and The Dead Lands.
Kiwi-Samoan Robbie Magasiva was performing in a primary school talent quest when he fell in love with acting. At age 16 he made his first screen appearance, playing a police cadet in a TV commercial. Since then Magasiva has honed his skills in television (Aussie series Wentworth, Shortland Street, The Semisis), film (Stickmen and Sione's Wedding) and stage (comedy group The Naked Samoans).
Chris Burt is an Auckland-based sound designer. Coming from a background in music (as a drummer in the Techtones and Stridulators, and as a sound mixer) he began in the screen industry as an assistant on 1983 movie Trial Run, and later designed the sound for classic short film Kitchen Sink. Since setting up his own studio The Inside Track in 1992, Burt has worked on dozens of projects — and won awards for his sound work on everything from In My Father's Den to TV movies Siege and Jean.
After taking over the retirement home formerly run by her late mother, a young woman (Jackie Kerin) starts to worry that a pattern of unexplained deaths and strange visitations is repeating itself. Tony Williams’ cult feature began development as a black comedy about murderous Kiwi caterers, before morphing into this moody gothic mystery — the first horror film directed and written by Kiwis (though it was ultimately shot and set in Australia). Years after winning best film at fantasy festivals in Sitges (Spain) and Paris, fanboy Quentin Tarantino praised it as “mesmerising”.
A journeyman actor for many years, Peter McCauley is a familiar face on both sides of the Tasman, with a long string of roles in film and television. His gruff, craggy image belies a capacity for sensitivity, and his rich sonorous voice has flattered many a script over the years.
Campaign, the second film directed by Tony Sutorius, won sellout screenings at the 1999 NZ Film Festival. The documentary chronicled an early MMP election campaign. Sutorius went on to make another feature-length documentary, this time about trade unionist Helen Kelly. Sutorius runs Porirua company Unreal Films, whose diet of educational films encompasses numerous elections across Australasia.
Solo is a story about three people on the edge of nowhere, struggling to decide how much of themselves to share with those they care about. Young Australian hitchhiker Judy romances solo Dad Paul, who finds peace flying fire patrol planes above the forest. Paul's precocious son reacts badly to losing pole position to Judy, and takes to the air. Inspired partly by the oft-painful times when we are "more acutely in touch” with our emotions, Tony Williams' romance helped launch the Kiwi movie renaissance. But as he writes in the backgrounder, there was no fun in filming it three times.
Some jobs never make the headlines; in the screen industry, one of those unsung positions is the production manager. After seven years on film sets in Asia, Brian Walden returned home in the mid 70s to production manage the shoots of many classic TV dramas, from Hunter’s Gold to Hanlon. In 1985 he went freelance, keeping a firm hand on shoots involving horses, hospital porters, vampires and underwater aeroplanes.
Geoff Jamieson was working as a mechanic in Queenstown when he was asked to help out on landmark 70s television series Hunters's Gold. So began a busy career as a camera grip on a run of classic TV dramas, as well as the ambitious shoots for movies The Quiet Earth and The Piano. Jamieson passed away on 24 May 2016.
An ideas man who campaigned for a Government film body, Stanhope Andrews would become the National Film Unit's first manager. Andrews commanded the Unit for a decade. Along the way he oversaw dramatic expansion, set up regular newsreel Weekly Review, and opened the door to filmmakers of both genders.