Taika Waititi's blockbuster second movie revolves around an imaginative 11-year-old East Coast boy (James Rolleston) trying to make sense of his world — and the return of his just-out-of-jail father (Waititi). Intended as a "painful comedy of growing up", Boy mixes poignancy with trademark whimsy and visual inventiveness. The film was shot in the Bay of Plenty area where Waititi partly grew up. A winner in its section at the 2010 Berlin Film Festival, Boy soon became the most successful local release on its home soil (at least until the arrival of Waititi's 2016 hit Hunt for the Wilderpeople).
The Mighty Civic offered a delirious and colourful celebration of Auckland's grandest old movie palace, made at a time when the building's future was under threat. The film uses a mixture of stylised sequences, archive footage, personal memories and poetic narration to evoke the spirit of the theatre in its heyday. Director Peter Wells' film galvanised public support, and ultimately the building was saved and refurbished, to remain the crown jewel of Queen Street's cinema district. This clip features the first 10 minutes of the hour long film. Costa Botes writes about the film here.
Taika (Boy) Waititi's first feature is an offbeat comedy about two lonely misfits and their attempts to find love. Lily (Loren Taylor) is a shy fast-food cashier with a crush on clueless gaming geek Jarrod (Conchord Jemaine Clement). When Lily crashes Jarrod's fancy dress party wearing a shark costume and impresses the self-styled ‘Eagle Lord' with her gaming prowess — excerpted here — she gets her man. But their budding romance is sorely tested by Jarrod's obsession with a childhood nemesis. Empire called the film, "a comic delight destined for cult adoration."
Roger Mirams helped launch legendary independent company Pacific Films in 1948, and went on to co-direct Broken Barrier in 1952 with John O'Shea — the only Kiwi feature made that decade. In 1957, Mirams set up a Pacific Films branch in Melbourne. Over the next five decades he won a reputation in Australia for his children's TV shows. Mirams was still working in his 80s; he passed away in February 2004.
Wellington-born Jonathan Hardy, who died in July 2012, was an actor for more than four decades. Along the way he was on stage in New Zealand, Australia and England, and on screen in Kiwi classic The Scarecrow and a run of Australian projects. Hardy also co-wrote Constance and Aussie classic Breaker Morant, in the process becoming the first New Zealander to be nominated for a scriptwriting Academy Award.
Award-winning scribe Gavin Strawhan is one of the most experienced screenwriters working in New Zealand television. His extended resume includes writing for, and helping create TV shows Nothing Trivial, Filthy Rich, Jackson's Wharf, Mercy Peak, Burying Brian, kidult hit Being Eve, Kaitangata Twitch and futuristic thriller This is Not My Life. He also co-wrote 2010 feature film Matariki.
Bernadine Oliver-Kerby’s 25 plus years in broadcasting have ranged from sports reporting (including All Blacks tests and the Olympics) to reading the news — she was a longtime co-presenter on the One News weekend slot. Oliver-Kerby has hosted sports show Skoda Game On, the Halberg sports awards and quiz show New Zealand’s Brainiest Kid; she is also an award-winning radio newsreader.
Rod Morris has more than three decades experience as a wildlife photographer and filmmaker. After working on the quest to save the Chatham Island black robin, he joined TVNZ's Natural History Unit (now independent company NHNZ) in 1980. His name is found on more than 30 books, and his photography has helped spur generations of Kiwis to share his passion for the natural world.
Since relocating from the United Kingdom, Peter Roberts has made his mark in New Zealand as an editor. Roberts found his editing niche at TVNZ, before a prolific freelance career saw him cutting a string of documentaries, shorts, and features — including award-winning drama The Dark Horse. In 2013 he became the first editor to be elected President of the Directors and Editors Guild of New Zealand.
After training at Auckland's South Seas Film and Television School in 1999, James Anderson began working on music shows Squeeze and Space, and became a cameraman and editor on both. After arts series The Living Room and time working on music documentaries in the UK, he returned to Aotearoa and set up company Two Heads, with Nick Ward. Anderson went on to direct globe-spanning music show Making Tracks, and a number of high profile commercials. He was also AFTA-nominated for primetime hit Food Truck. These days Anderson is a freelance director in the United States.