This is the first installment in director Jason Stutter’s trilogy of short cautionary tales. The ingredients are simple: playful kid, dangerous tool. The recipe for a comic screen gem? Mix them up. Here a son, left alone after watching his Dad chop wood, has a go at figuring out how a heavy axe works ... in bare feet. With the economy of a Buster Keaton set-up, Careful’s razor sharp sense of squeamish anticipation saw it become a festival success. It was apparently inspired by listening to Pink Floyd song ‘Careful with that axe, Eugene’ on a road-trip.
Sam Neill has acted in forgotten Kiwi TV dramas (The City of No) and classic Kiwi movies (Sleeping Dogs, The Piano, Hunt for the Wilderpeople). His career has taken him from the UK (Reilly: Ace of Spies) to Hawaii (Jurassic Park) to dodgy Melbourne nightclubs (Death in Brunswick). As Neill turns 70, this collection celebrates his range, modesty and style — and the fact he was directing films before winning acting fame. In these backgrounders, friends Ian Mune and Roger Donaldson raise a glass to a talented, self-deprecating actor and fan of good music and pinot noir.
Aimed at teaching kids to stay safe and do the best for themselves and their communities, Bryan and Bobby offers a friendly face to the New Zealand Police. In this episode Senior Constable Bryan Ward talks to Bobby, his talking pup partner, about the importance of serial numbers and keeping a record of them. With jokes a plenty, often about Bobby’s insatiable appetite, the show keeps things friendly and accessible. Bryan and Bobby have toured schools to promote the SNAP programme, which allows details of assets to be stored online. Children's TV veteran Suzy Cato produces.
Philly de Lacey is the Managing Director of production company Screentime NZ. Screentime has produced a number of crime documentaries and dramas, and De Lacey has been involved with many of them as Executive Producer. Her credits include documentary series Police Ten 7, Water Patrol and Marae DIY; and the dramas Bloodlines, Siege, Safe House and Underbelly: Land of the Long Green Cloud.
'Ship girls' are the subject of this episode of the NZBC’s Probation Service drama. Hapless Janice (Freda Costley), a 19-year-old with a father who moved to Whakatāne and a mother she doesn’t see if she can help it, is looking for love in the wrong places: sneaking onto the wharves to party with sailors in the hope she’ll find a boyfriend. Now the police have arrested her and, if she’s not careful, she’ll end up in borstal. Will the Probation Officers (Ewen Solon and Glynis McNicholl) be able to "stop her gangway habit becoming an addiction"?
In 2009 Māori Television rebooted the Selwyn Toogood-hosted 70s game show, with presenters Pio Terei and Stacey Daniels Morrison giving contestants the immortal choice: the money or the bag? In this episode — complete with web players — the road show comes to Ngāpuhi territory: the Northland town of Waimamaku. The series is bilingual; but how ever you say it be careful what you choose: as Stacey says, “Instead of a TV you might get a can of V!” The show ends with Pio leading a ‘Pokarekare Ana’ singalong. “Too much!”
This episode of Greenstone Pictures' documentary series about maritime misfortune recounts the fate of the Boyd — a shipwreck created by a bloody act of revenge. Presenter Paul Gittins travels to Whangaroa Harbour in the Far North where, in 1809, local Maori slaughtered more than 60 passengers and crew. This savagery — and the cannibalism that followed — severely strained early Maori-Pakeha relations for decades. Gittins carefully examines the lead-up to the attack and former Race Relations Conciliator, and local resident, Hiwi Tauroa provides further context.
This item from arts show Frontseat asks whether it is right for actors to portray other races than their own. Samoan Kiwi David Fane — who won both fans and criticism, after voicing Jeff da Māori on bro'Town — argues that playing another ethnicity is only an issue when the actor does a bad job. Actor Rachel House (Whale Rider) raises wider issues of indigenous people telling their own stories; and Cliff Curtis, known for a wide range of ethnicities on screen, says he needs to be just as careful playing Māori of other iwi, as when he is playing other races.
“In the dark and scary depths of a subway, one young man finds fear has a new name: FIZZ.” Jemaine Clement (pre-Flight of the Conchords fame) is the young man who faces up to a sentient soda machine in this short from Jason Stutter. Made for $2000 and filmed over two wintry Wellington nights, Fizz screened at festivals including Locarno, New York, and Clermont-Ferrand. Stutter would successfully repeat the combo of dark wit and dangerous appliance in his Careful with that … series; Clement starred in Stutter’s debut feature Tongan Ninja (2002).
Wellington band MarineVille formed in 2000 around songwriter and guitarist Mark Williams and developed a sound capable of encompassing lush textures and edgier noises over careful pop songs and occasional sprawling epics. Their third album, Foul Swoop, described by Williams as having “strings, horns, rockin' tunes and dark ballads”, was hailed by Grant Smithies as “a gloriously abrasive mix of rumbling bass, overdriven guitars and half spoken vocals”. Soon after its release, they were joined by bass player Denise Roughan (ex-Look Blue Go Purple and 3Ds).