In 1865, Wellington became the Kiwi capital. In the more than 150 years since, cameras have caught the rise and fall of storms, buildings, and MPs, and Courtenay Place has played host to vampires and pool-playing priests. Wind through our Wellington Collection to catch the action, and check out backgrounders by musician Samuel Scott and broadcaster Roger Gascoigne.
This episode of The Deep End asks whether a navy captain has the skill set to direct television. Aided by Royal NZ Navy officer Peter Cozens, navy veteran Ian Bradley agrees to direct a teleplay starring an occasionally troublesome team of Kiwi actors. Bradley's mission had its roots in an earlier episode, where he forced normal Deep End host Bill Manson to walk the plank of the frigate HMNZS Waikato. The result is a rare behind the scenes glimpse into local TV production — and a chance to witness the grace under pressure of both Bradley, and veteran TV Production Assistant Dot LePine.
Richard Bluck began working as a cameraman at the Avalon Television Centre in the 1970s. Alongside a host of other projects, he has brought his skills as director of photography to features Black Sheep, What We Do in the Shadows, Second-Hand Wedding and many short films.
Gemma Gracewood produced arts series Frontseat over five seasons, then followed it with the ambitious New Artland. Her career has also included stints as radio producer, arts publicist, Metro film reviewer, parliamentary press secretary, and musician.
Television experience with the BBC helped David Pumphrey win a job in Kiwi television, soon after he returned to New Zealand in 1959. He went on to produce children's shows, live broadcasts, and Montage — forerunner to magazine show Town and Around. Pumphrey also worked on the first TV broadcasts by celebrity cook Graham Kerr, and directed for high profile current affairs shows Compass and Gallery.
After almost two decades of directing and producing documentaries, David Harry Baldock left TVNZ in 1988 to launch Ninox Television. The company’s roster of reality-based programming included export hit Sensing Murder, local award-winner Our People Our Century and nine seasons of Location Location Location. These days Baldock is busy making arts programmes from Shanghai.
Veteran producer Tom Parkinson has worked with some of New Zealand television's most popular comedians, including David McPhail, Jon Gadsby, and the late Billy T James (who he discovered in an Avondale Rugby League club). He also directed adventure series Hunter's Gold — whose international success helped launch a run of Kiwi-made children's dramas — and produced many international co-productions.
One of NZ’s most experienced and prolific TV producers, Ross Jennings cut his teeth at Avalon in the late 1970s on dramas like Close to Home and Moynihan. After stints as Head of Drama at TVNZ and at Crawfords in Melbourne, he began a long association with Screentime Communicado where he created early reality TV series Middlemore, and Police 10-7. Jennings passed away on 25 March 2016.
Don Selwyn, ONZM, was an actor, casting director and mentor to a host of talented Māori who went on to work in film and television. Selwyn’s long acting resume includes 1970s historical epic The Governor and police show Mortimer’s Patch. He also directed The Māori Merchant of Venice, the first feature film in te reo Māori.
Paul Sutorius is an editor who is as comfortable cutting together scenes for drama, children's adventure, a horror movie or a documentary. Sutorius has worked extensively with director Gaylene Preston, and won awards for his editing on Preston's second feature Ruby and Rata and her Te Papa making-of-museum doco, Getting to Our Place.