Drama and commercials director Peter Burger (Until Proven Innocent, Fish Skin Suit) is profiled in this episode from a bilingual Māori Television series about artists. In this extract, he traces the origins of his career to a “crazy little accident” in the form of drama lessons taken to correct a childhood lisp. His early aspirations to be an actor were soon eclipsed by a fascination with the process of directing. Making adverts provided him with a chance to develop and hone the storytelling skills he would apply to television and film.
In 1951, New Zealand temporarily became a police state. Civil liberties were curtailed, freedom of speech denied, and people could be imprisoned for providing food to those involved. This award-winning documentary tells the story of the 1951 lockout of waterside workers, and what followed: an extended nationwide strike, confrontation and censorship. There are interviews with many involved, from workers to journalists and police. At the 2002 NZ Television Awards, 1951 won awards for Best Documentary and Documentary Director (John Bates). Costa Botes backgrounds 1951 here.
When high-powered director of commercials Hugh Chance (Michael Hurst) visits a small backwater town, the 'for sale' sign on the local tavern offers too good a chance to overlook — especially with the chance to create a set of waterfront condos. But the locals don’t take too kindly to this intruder trying to turn their town into a holiday resort. Starring alongside Hurst in this 47 minute teleplay are Michael Galvin and Stephen Lovatt (Being Eve) as two fellow admen, while Meryl Main (Plain Tastes) features as local artist and cafe owner Jess, who earns both Chance’s ire and affections.
In this late 60s commercial, actor Ray Henwood appeals to viewers help him eat every Moro Bar in New Zealand. Inspired by a British ad, it was an early entry in a series promoting the Cadbury chocolate bar. The series made Henwood well-known in the 70s as one of the first local figures to hawk a product on screen, directly to viewers (eg Michael Hill, Mike Pero, Suzanne Paul). Henwood focused on acting after his then-boss deigned that being a government scientist as well as 'The Moro Man' was "not a good look". He would win renewed fame on 80s sitcom Gliding On.
"I do hope your pimples don't let you down on the big night." 14-year old Steve is caught between creatures he does not fully understand: two parents with very different ideas about the suit he should wear to his first school dance. Meanwhile everywhere he seems to look, images of men are taking control of his imagination. In Stewart Main's comical coming of age story Steve escapes his parents' good wishes, to discover his true desires. They aren't quite what his no-nonsense father had in mind.
Presented by an animated pencil, but no less authoritative for it, From Len Lye to Gollum traces the history of Kiwi animation from birth in 1929, to the triumphs of the Lord of the Rings trilogy. The interviews and animated footage cover every base, from early pioneers (Len Lye, Disney import John Ewing) to the possibilities opened by computers (Weta Digital, Ian Taylor’s Animation Research). Along the way Euan Frizzell remembers the dog he found hardest to animate and the famous blue pencil; and Andrew Adamson speculates on how ignorance helped keep Shrek fresh.
One of the most controversial political adverts to emerge from New Zealand, this 1975 spot only played twice on local television, but helped bring National a landslide win. National leader Rob Muldoon’s chief target was the Labour Government’s superannuation scheme, which the ad notoriously associated with communism, via a troupe of dancing Cossacks. Created by ad agency Colenso, the concept was animated by company Hanna-Barbera in Australia. After being elected, Muldoon brought in a replacement superannuation scheme.
Clarke Gayford spends a day with the All Blacks' star first five-eighth. A thoroughly modern rugby player, Dan Carter talks about his underwear commercials and is seen in his Italian clothing store and being made up with fake sweat for a photo shoot. The flip side is an unwavering commitment to his craft, and a training and fitness regime that leaves Gayford gasping. Carter recalls his father building him goalposts in the backyard when he was a boy — and demonstrates the goal kicking technique that has made him the All Blacks’ leading points scorer.
This documentary is a view into the crucible that forged museum Te Papa, which opened on Wellington's waterfront in February 1998. Fascinating fly-on-the-wall moments are captured as a new kind of national museum is conceived. This excerpt features a board meeting where Saatchi & Saatchi present branding options. As political, ideological, creative and commercial considerations collide, the frustrations of decision making by committee are palpable: the body language, tears, cautions, grumbles, and finally, smiles, as they settle on the contentious thumbprint logo.
In 2002, musician Moana Maniapoto was prevented from using her first name to market herself in Germany because it was copyrighted by someone else. That bewildering experience prompted this award-winning doco made with partner Toby Mills. It explores wider issues of commercial exploitation of 'exotic' indigenous cultures by global companies — a vexed area which Western intellectual property law seems ill-equipped to deal with. There are case studies of the good, the bad and the ugly over usage by brands including Lego, the All Blacks, Ford, Moontide and Playstation.