This episode of current affairs show Close Up offers a fascinating portrait of the early days of New Zealand's foreign exchange market. Reporter Ted Sheehan heads into "the pit" (trading room), and chronicles the working life of a senior forex dealer, 25-year-old accountancy graduate John Key. The "smiling assassin" (and future Prime Minister) is a calm and earnest presence amongst the young cowboys playing for fortunes and Porsches, months before the 1987 sharemarket crash. As Sheehan says, "they're like addicts who eat, breathe and sleep foreign exchange dealing".
This two-part mini-series is set in an 80s 'New Auckland' world of mirror glass and murderous corporate conspiracy. British actor James Faulkner (latterly Bridget Jones' Uncle Geoffrey) plays a shady developer with a smash and burn approach to urban planning. Blocking his utopian waterfront scheme is a cafe. The inheritors of the greasy spoon — and a racehorse — are a duo of feisty femmes: working class Tammy (Annie Whittle), and art consultant Joanna (Miranda Harcourt). The Shadow Trader marked an early producing credit for Finola Dwyer (An Education).
The Governor was a television epic that examined the life of Governor George Grey in six thematic parts. Grey's "Good Governor" persona was undercut with laudanum, lechery and land confiscation. NZ TV's first (and only) historical blockbuster was hugely controversial, provoking a parliamentary inquiry and "test match sized" audiences. It won a 1978 Feltex Award for Best Drama. Auckland Star reviewer Barry Shaw trumpeted: "It has made Māori matter. If Pākehā now have a better understanding of the Māori point of view [...] it stems from The Governor.
This 'making of' film goes behind the scenes of New Zealand TV's first (and only) historical blockbuster: George Grey biopic The Governor. Presented by Ian Johnstone, it looks at the production's re-construction of 19th Century NZ and wrangling of large scale battle scenes; the footage is a fascinating snapshot of a nascent industry. It also examines Governor's place in 70s race politics and its revisionist ambitions. Key players are interviewed: Keith Aberdein, Don Selwyn, Tony Isaac, Corin Redgrave, Martyn Sanderson, and Casino Royale's Terence Cooper.
A key player behind the scenes, Gary Hannam’s ability to find and exploit mechanisms for financing movies was a key driver in the rapid growth of the NZ film industry during the 1980s.
The career of Grant Bradley demonstrates that New Zealand producers can find many sources to fund their movies, beyond the beaten path to the Film Commission. Bradley set up company Daybreak Pictures in 1990. After producing more than 20 titles for Daybreak, he relocated to Australia in 2008 with his brother Dale. The duo established NZ and UK-based company Aristos Films in 2013.
Glenn Standring is a writer/director with a background in animation and computer graphics. His 1996 short Lenny Minute was accepted into competition at Cannes. To date his feature films have been southern gothic takes on the occult/horror genres. He also provided the script for historical action tale The Dead Lands, directed in 2014 by No. 2 talent Toa Fraser.
The prolific Dale Bradley has produced and directed feature films on both sides of the Tasman. After setting up company Daybreak Pictures with his brother Grant, and directing his first feature, Gallipoli tale Chunuk Bair, Dale Bradley developed and directed movies in New Zealand and then Australia. In 2013 the Bradleys established NZ/UK-based company Aristos Films.
David Beatson's 50 year career included high profile stints in TV current affairs: reporting, interviewing and producing for shows like Town and Around, Compass, Gallery, and Eyewitness, and chairing election debates. Beatson went on to edit The Listener, and was a press secretary to PM Jim Bolger and spokesperson for Air NZ. He served on the boards of various media organisations, and was chairman of NZ On Air.
Richard Turner’s work as a director began with poetry-based works, pioneering Māori works for television, and Squeeze (1980), New Zealand’s first gay-themed feature. Since then he has made films largely in Australia.