By the mid 1980s Auckland had shifted from city of sails, to city of cranes. In the lead-up to the 1987 sharemarket crash, it was in the grip of "an unprecedented building boom". This 1986 Kaleidoscope report looks at the demolition and development from an architectural angle, as malls and mirror glass transform the city. Interviewees include developer Seph Glew of the (ill-fated) Chase Corporation, and his architects. Architecture critic Mark Wigley rates the BNZ Tower an "insult", but says Auckland's "crude" new buildings have at least provoked debate about what the city needs.
In this 1985 Kaleidoscope edition, reporter Terry Carter meets many of those behind Auckland's 80s construction boom, and examines a cityscape where old landmarks are rapidly being demolished and replaced by mirror glass high-rises. Interviewees include property developers of the day like Mainzeal and Chase Corporation’s Seph Glew; a councillor who argues that commercial interests are dominating; and architect Ivan Mercep and interior designer Peter Bromhead, who critique the buildings’ architectural and civic qualities and their “Dallas TV set” aesthetics.
In this documentary, writer and satirist Peter Hawes crosses the Bombay Hills border in his Morris van to record his take on mid 1980s Auckland. Pocked with as many puns as Auckland has volcanic craters, Hawes' profile is a sprawling, breezy look at New Zealand's largest city: from a Chase Corporation high rise to shearing sheep in Cornwall Park; from Eden Park to Bastion Point. Interviews (with politicians, sportspeople, gossip columnists, strip club fashion designers) are mixed with skits covering jogging, bridge building, shipwrecks, multiculturalism and sewers.
This Richard Riddiford-directed comedic thriller plays out in pre-crash 80s Auckland with the CBD skyline changing daily, brick-sized phones, shadowy corporations on the rise and the share market on everyone's lips. With a second harbour crossing due to be announced, a telephone operator (future events maestro Mike Mizrahi) and a waitress moonlighting as a dominatrix (Lucy Sheehan) become ensnared in a web of corporate greed and blackmail. Chris Knox contributes the soundtrack, and extensive outdoor sequences include a memorable chase scene at Kelly Tarlton’s.
Opensouls — a sprawling collective of self-confessed vinyl addicts — banded together in 2001 and incorporated soul, roots and funk. Built around guitarist Jeremy Toy, drummer Julien Dyne, and later vocalist Tyra Hammond, they wowed critics with first single 'In Your Hands'. UK mag Straight No Chaser called it a "low-down, grinding funk burner". Debut album Kaleidoscope (2006) was nominated for Best Urban/Hip Hop Album at the 2006 NZ Music Awards. Successful follow-up Standing in the Rain (2009) echoed the sound of 50s/60s R&B. The band are no more, but there have been occcasional reunion gigs.
Australian-born director Michelle Walshe worked in the screen industry in the United Kingdom, then moved to New Zealand in 2001. She worked for production companies Greenstone and Eyeworks, before co-founding Augusto Productions in 2008. Walshe has helmed corporate campaigns for clients from golfer Lydia Ko ('Ko Goes Pro') to Adidas. In 2014 she directed kids TV show Kune’s Kitchen, and co-directed Rhys Darby comedy series Short Poppies; in 2016 Walshe and Justin Pemberton helmed Chasing Great — the film about All Blacks captain Richie McCaw broke box office records for a local documentary.
Ian Wishart has been described by The Listener as “the country’s most influential journalist”. The outspoken editor of Investigate magazine has written several bestsellers examining Kiwi crime cases. Wishart gained renown as the reporter who led the investigation into The Winebox Affair, fronting a Frontline documentary on corporate fraud. He also presented 1997 found footage show Real TV.
Actor and director Michael Hurst is a Kiwi creative institution. Even leaving aside his work as a director and stage actor, Hurst's screen resume runs to 50 roles and counting: including playing everyone from painter Toulouse-Lautrec, to Hercules's sidekick Iolaus, to politician Rodney Hide.
With a CV that includes everything from judges to Amazon queens, Alison Bruce has often been cast as the strong unsmiling type. Yet two of her biggest screen roles completely break that mould: the fraudulent but well-meaning fortune teller in 2001 feature Magik and Rose, and the eccentric mother in award-winning series Being Eve.
Ray Collins was working in a camera-shop when a senior BCNZ cameraman offered him a job on the spot. Collins was shooting items for the main evening news his first morning on the job. Based in Dunedin for much of the 15 years he spent with the state broadcaster, Collins shot for Spot On, Fair Go and Wild Track. Collins left TVNZ in 1990, and now shoots and makes programmes from his Dunedin base.