Tattoo explores the love-hate relationship many people have with this form of permanent body art. Stories range from those who are about to get a tattoo and those who are living with theirs, to those who want their tattoos removed altogether. The doco explores the devil-may-care approach of a tattoo virgin, as well as the quiet reflection of a tattoo veteran going through the long and painful removal process. Tattoo played in TV3's Inside New Zealand series.
This cult late-night TV2 series mixing sacrilege, beer-fuelled bogan hijinks and Jackass-like stunts. Created by Chris Stapp and Matt Heath, it centred around a mock live TV show, with music from house band Deja Voodoo. Characters like "retarded South Island mechanic" Spanners Watson featured in BSA-baiting segments like 'Randy Campbell's Extreme Stunts' (which would later inspire Stapp and Heath's 2007 movie The Devil Dared Me To). The first series also screened on MTV2 in Europe and Channel V in Australia. A second series screened on C4 in 2008.
Matt Heath and Chris Stapp first launched grungy rockers Deja Voodoo as the fictional house band in brief segments of their TV show Back of the Y. The offer of a university orientation tour encouraged them to take their mock rock creation more seriously, and actually become a real band. In line with their Back of the Y antics, the concerts saw ten burning acoustic guitars were smashed over Stapp’s head. Deja Voodoo have released two albums celebrating alcohol, women and beer: Brown Sabbath and Back in Brown. They also featured extensively on the soundtrack to Heath and Stapp’s 2007 film The Devil Dared Me To.
The debut episode of McPhail and Gadsby plunged into religion as the object of satire, and the result spawned death threats and annoyed letters to the editor. The pair dress up as angels, devils, monks, nuns, priests and Moses, and also make the first of many appearances as the smug Denny (McPhail) and not so clever Ron (Gadsby). McPhail argued later that a simple sketch involving an Anglican vicar dispensing communion unexpectedly caused the most offence. The thematic approach was soon abandoned in favour of shorter episodes, and a more familiar style of topical satire.
In 1983, director Geoff Murphy stormed out of the scrub of the nascent Kiwi film industry with a quadruple-barreled shotgun take on the great New Zealand colonial epic. Set during the New Zealand Wars, this tale of a Māori leader (Anzac Wallace) and his bloody path to redress 'imbalance' became the second local film officially selected for the Cannes Film Festival, and the second biggest local hit to that date (after Murphy's Goodbye Pork Pie). A producer-driven recut was later shown in the United States. This 2013 redux offers Utu “enhanced and restored”.
This fondly-remembered Pictorial Parade plunges down the famously steep grade of the Denniston Incline. The cable railway was the key means of transporting ‘black gold’ from the isolated Denniston Plateau to Westport. The engineering marvel fell 518 metres over just 1670 metres. It brought down 13 million tonnes of coal and many hardy families, despite notorious brake failures. This film was made just before the mine and railway ceased operating, as “old king coal” was supplanted by oil. Director Hugh Macdonald writes about making it, and a companion film, here.
It's the 1870s, and Māori leader Te Wheke (Anzac Wallace) is fed up by brutal land grabs. He leads a bloody rebellion against the colonial Government, provoking threatened frontiersmen, disgruntled natives, lusty wahine, bible-bashing priests, and kupapa alike to consider the nature of ‘utu’ (retribution). Legendary New Yorker critic Pauline Kael raved about Geoff Murphy’s ambitious follow up to Goodbye Pork Pie: “[He] has an instinct for popular entertainment. He has a deracinated kind of hip lyricism. And they fuse quite miraculously in this epic ...”
Gloss was a popular Kiwi television drama series made by TVNZ that screened in the late 80s; it combined a wealthy family, the Redferns, with a lucrative high-fashion magazine business. Yuppies, shoulder-pads and méthode champenoise abound in this cult "glamour soap". New Zealanders wanted to see themselves as less bottom of the world and more "here we come and we are sailing" (as the infamous Cup campaign song warbled), and Gloss was just what the era demanded.
"I get around. I know everything. Except your name." Kevin Smith made his television debut (in a speaking part) on this episode from the third series of Gloss, playing smirking DJ and man-about-town Damien Vermeer. Keen to rise above his working class origins, the character sets his sights on rich brat Chelsea Redfern within moments of meeting her. Smith left work at Christchurch's Court theatre for the role, when the decision was made to up the show's male quotient. Mikey Havoc also appears in this scene, as a member of his real-life band Push Push.
Bob Stenhouse, the first Kiwi animator to be nominated for an Academy Award, spent 12 years working for state television. After joining the Government’s National Film Unit in 1980, he made Oscar-nominated short The Frog, The Dog and the Devil. Stenhouse’s later films have included several Joy Cowley short stories, plus award-winning short The Orchard, a Japanese fable adapted to a New Zealand setting.