Evan Short, one half of drum and bass duo Concord Dawn, talks about electronic music making in this episode from a series made for high school students. Appropriately, he first met future collaborator Matt Harvey in school music lessons and they later reconnected as drum and bass fans while studying audio engineering. To the thundering accompaniment of Concord Dawn’s student radio hit 'Morning Light', Short discusses hardware, software for beginners, the importance of developing good "ears", and the international recognition they have received.
New Zealand's unique accent is often derided across the dutch for its vowel-mangling pronunciation ("sex fush'n'chups", anyone?) and being too fast-paced for tourists and Elton John to understand. In this documentary Jim Mora follows the evolution of New Zealand English, from the "colonial twang" to Billy T James. Linguist Elizabeth Gordon explains the infamous HRT (High Rising Terminal) at the end of sentences, and Mora interprets such phrases as "air gun" ("how are you going?"). Lynn of Tawa also features, in an accent face-off with Sam Neill and Judy Bailey.
Winner of Best Actor and Best Director at short film festival Tropfest in 2013, this mockumentary follows the travails of Dave Dobson, "audio enhancement engineer for adult films". Dave’s passion for his job results in some sloppy aural props, in the hope that his soundtrack for Blizzard of Jizz will score a win at the Golden Clams. Not that his efforts are appreciated by his sleazy boss Gary, and hapless colleague Jake. Written and starring Greg Stubbings (Seven Sharp, The Crowd Goes Wild guest presenter), the comedy was selected for the ImagineNATIVE and Austin film festivals.
On an evening stroll in 1996, two elderly Paekakariki twins suddenly encountered a ropey bull. Caught in an unexpected predicament, they tried patting it, praying, and holding onto its horns for dear life. Using an audio recording in which Pearl Mills matter-of-factly retells the experience, the Simmonds Brothers utilise colourful animation to bring the whole homely tale to life. Following on from their first film — based on interviews with people from Paekakariki township — this ‘documation’ short was again inspired by the stories of ‘ordinary’ people.
A helmet cam records the claustrophobic reactions of a rookie mercenary (Elliot Travers) as an interplanetary combat raid goes wrong in Ferand Peek's debut short. Peek produced the one-shot DIY Gravity in Wellington over five years. Audio was recorded first, then Travers (shot in a special rig), then CGI effects were forged with the help of Miramar/Weta filmmaking crew. The result was touted by io9 doyen Annalee Newitz: “All we see of the world around him are reflections in his helmet, and yet the suspense is incredible. Plus, the story [is] surprisingly moving.”
John Clarke was one of New Zealand’s best-loved comic performers. His 1970s farming character Fred Dagg became an icon of Kiwi comedy. Clarke worked as a comedian, actor, writer and director. His satirical television series The Games was an Australian Film Institute award-winner. Although based in Australia since 1977, he lent his unmistakeable comic voice to Kiwi TV comedies bro’Town and Radiradirah. In a departure from our usual ScreenTalk format, this extended audio interview was produced and recorded by Andrew Johnstone and Richard Swainson with the assistance of Hamilton Community Radio and The Film School.
Charlie Horse is a personal film diary by actor Martyn Sanderson showing the breaking-in and training of a young colt in rural Hawke's Bay. It was made when Sanderson was a vital part of the gang of Blerta creatives who based themselves at Waimarama Beach in the 1970s. Some stunning ‘wild horses' imagery is captured (shot by Sanderson and cinematographer Alun Bollinger) and narration is intriguingly provided from audience comments recorded at a local screening of the footage. It features music by Blerta members Bruno Lawrence, Chris Seresin and Patrick Bleakley.
Bruno Barrett-Garnier calls his company soundnut for good reason. Barrett-Garnier began playing around with audio equipment as a child, and has gone on to work on sound for movies, TV shows, shorts and commercials. The sometime screen composer was one of the key soundies over four seasons of Spartacus; his CV also includes Fish Skin Suit, Giselle and Edmund Hillary movie Beyond the Edge.
Andrew Hagen began composing for film while in band Schtung. Hagen and fellow bandmember Morton Wilson provided music for a quartet of Kiwi movies, including Kingpin and The Scarecrow, then moved to Hong Kong and set up studios in Asia. In 1992 Hagen headed to LA, establishing himself as an award-winning composer, sound designer and sound supervisor. In 2011 he launched a branch of Schtung back in Wellington.
Sound recordist Dick Reade's list of awards includes gongs for his work on The Navigator, Mt Zion, After the Waterfall and When Love Comes — and an Emmy nomination for TV’s Buggin’ with Ruud. In 2007 he was named SPADA/Onfilm industry champion. After more than a decade with state television, Reade went freelance in the early 80s. These days he runs his own studio in West Auckland.