This 2016 Loading Doc introduces a heavily-tattoed Englishman living in Rarotonga. Croc Coulter is an unlikely master of the traditional art of tātatau (tattoo); the documentary follows Coulter as he teaches the art form to an apprentice, Moko Smith. Coulter also lives with cystic fibrosis. It was directed by Robert George, who has Cook Islands Māori and Māori heritage, and a background as both a painter and in post-production work for the screen. The mini documentary was shared internationally; it also featured on National Geographic's Short Film Showcase.
While visiting family down under, American teen Lonny catches up with his grandfather, a man with an infectious giggle, a thirst for adventure — and two vampire-sized incisors. Released locally as Grampire, this family-friendly adventure combines local names (among them future Pluto singer Milan Borich) with a winning turn as nice guy vampire by American Al Lewis (cult series The Munsters). Director David Blyth was won over by Michael Heath’s script because it reversed convention, and “was a plea for children to be allowed to keep and develop their imaginations”.
Ian Morris got his start in the music industry as a recording engineer at Auckland's Stebbings Studio. A guitarist in Th'Dudes, he co-wrote some of the band's biggest hits with Dave Dobbyn (including 'Right First Time" and 'Bliss'). In 1987 he topped the charts as Tex Pistol with his cover of 'The Game of Love' (which he performed, arranged, engineered and produced). 'Nobody Else', a follow-up single with his brother Rikki, went to number one a year later. Morris also composed and recorded soundtracks for TV, film and commercials. He died in October 2010.
Auckland Museum's Volume exhibition told the story of Kiwi pop music. It's time to turn the speakers up to 11, for NZ On Screen's biggest collection yet. Turning Up the Volume showcases NZ music and musicians. Drill down into playlists of favourite artists and topics (look for the orange labels). Plus NZOS Content Director Kathryn Quirk on NZ music on screen.
After countless romances, breakups and revelations — plus the odd psycho and crashing helicopter — Shortland Street turned 25 in May 2017. Made on the run, sold round the globe, the Kiwi soap opera juggernaut has provided a launchpad for dozens of actors and behind the scenes talents. Alongside best of clips, the very first episode, musical moments and favourite memories from the cast, Shortland star turned director Angela Bloomfield writes about how the show has changed here, while Mihi Murray backgrounds how it began — and how it reflects New Zealand.
NZ On Screen's Pacific Collection celebrates many things — many islands, many cultures, and the many Pasifika creatives who have enriched Aotearoa, by bringing their stories to the screen. The collection is curated by Stephen Stehlin, whose involvement in flagship Pacific magazine show Tagata Pasifika goes back to its very first season. In his backgrounder, Stehlin touches on sovereignty, diversity, Polyfest and bro'Town — and the relationship between Pacific peoples and Māori in Aotearoa.
Actor Bruno Lawrence rounds out a handful (Buck, Billy T, The Topps, Crumpy) of Kiwi icons who have achieved sufficient mana to be recognised by an abbreviated name. His charisma was key to ground-breaking films, Smash Palace, The Quiet Earth and Utu. Jack Nicholson reputedly had Bruno envy. This collection celebrates his inimitable performances and life.
Blue tells the story of a fallen kids’ television mascot, reduced to working as a waiter in an Asian restaurant. Blue keeps his happy face on as he serves customers food; occasionally he's recognised from his screen fame days, but mostly he's ignored. Then one day bad news arrives. The urban alienation themed film was named Best Short in the Critics' Week section of the Cannes Film Festival, after just 10 films were selected from 1250 entries. Korean-born Stephen Kang moved to New Zealand in 1993; his digital feature Desert was released in Kiwi theatres in 2011.
The video for Tex Pistol's chart-topping, electro-pop tinged remake of 'The Game of Love' is a stylish triumph for budding teenage director Paul Middleditch - and one of the high points of New Zealand music video making in the 1980s. Tex Pistol, aka former member of Th'Dudes Ian Morris, is dressed in black and white with silver tipped cowboy boots and big red semi-acoustic guitar; while the soundstage, covered in a sheen of water, and blacked out except for a handful of spotlights, is all reflective surfaces for Morris and backing vocalist Callie Blood.
In Haka Māori myth is re-told through a series of stirring haka performances. Men stomp, invoke, and do pūkana (tongue out, eyes wide) amidst spitting mud and fire and ... in Paremoremo Prison and under a motorway. These scenes are intercut with archive imagery of post-pākehā Māori life, from first contact to Maori Battalion, urban drift and protest. The film is a tribute to the raw power, and art, of haka. Ultimately the Once Were Warriors-like message "is positive because of the fierce, irresistible pride of the performances." Peter Calder, (NZ Herald, 1989).