Roughly four years after debuting on A Haunting We Will Go, Count Homogenized made a memorable re-entrance in his own series. This fifth episode has the simplicity of a good cartoon: disguised as a movable charity bin, the vampire endeavours to trick or talk his way past the local dairy owners, on his endless mission to make it to the milk supplies. Aside from Russell Smith in full comic flight as the Count, Lynda Milligan takes the New Zild accent in dramatic new directions as no-nonsense shopkeeper Rhonda Dearsley.
This 70s current affairs show does a cost benefit analysis of Trade Minister Warren Freer’s Maximum Retail Price scheme (MRP), which capped retail prices. Drawn from an era of economic theory poles that was apart from the market deregulation of the 80s, the investigation sets out to poll opinion in supermarket aisles, a grocery in Glenorchy, and factory floors (Faggs coffee, Cadbury chocolate). The checkouts are a battlefield between red tape and free range retail. The early animated sequence by Bob Stenhouse marked an early use of animation in a local TV documentary.
Luscious fruit, truckies, and Lucy Lawless feature in this Christine Parker short. Sal (Tania Simon) is gifted a peach and meets a saucy tow truck driver (Lawless) en route home to her toddler, and domestics with boyfriend Mog (Joel Tobeck). Mog’s truckie mates arrive for beers, including the nameless driver, whose presence (and peach-eating advice) stirs up desire. “Watch it rot, or taste it when it’s ripe.” A roster of leading NZ film talent worked with Parker on the film, and Lawless' turn hints at the cross-sexual appeal of her breakthrough role on Xena - Warrior Princess.
Director Julie Zhu's love letter to a Chinese East Auckland community follows her grandmother as she carries out what may seem a mundane task — grocery shopping. But to Fang Ruzhen, her daily ritual of buying food is what connects her to several other aged Chinese grandparents, who hop on buses in large groups to head to the supermarket. Ruzhen moved to New Zealand nearly 20 years ago to help look after her grandson. Now she is 79 and can barely speak any English. "Going shopping every day…well, that’s our strength. Without this, what would we do?"
A culture clash story by Witi Ihimaera inspired this comic drama, which marked the directing debut of screen veteran Larry Parr. Set in the mist-shrouded Taranaki hamlet of Whangamomona in the 1940s, the short film focuses on the conflict between a local tohunga, Mr Hohepa (Sonny Waru) and feisty Pākehā Mrs Jones (Annie Whittle) — as viewed by the young boy who helps deliver her mail and groceries (Julian Arahanga, in his screen debut). The locals think Hohepa has placed a makutu (or curse) on Mrs Jones. But could more basic human emotions be at work?
Murray Reece has been the director at a number of key turning points in New Zealand's television history: from the debut of our first drama series (Pukemanu), to the first telemovie (The God Boy), to the episode of Country Calendar where Fred Dagg first showed us around the farm.
Tama Poata's wide-ranging contributions to our culture can be glimpsed through his appearances on-screen: from campaigns for Māori land rights (in 1975 doco Te Matakite O Aotearoa) and against the Springbok tour (Patu!), to his many acting roles. He also directed documentaries and wrote landmark 1987 movie Ngati, the first feature written (and directed) by Māori.
Geoff Murphy was a leading figure in the new wave of Kiwi filmmakers that emerged in the 1970s. His movie Goodbye Pork Pie became the first blockbuster of the local film renaissance. He completed an unsurpassed triple punch with Utu and sci-fi classic The Quiet Earth. Noted for his skill at action, knockabout comedy, and melding genres, Murphy spent a decade in Hollywood before returning home.
Riwia Brown is a Māori playwright and scriptwriter who won the Best Screenplay award for her adaptation of Alan Duff's novel Once Were Warriors. She has written and directed strong Māori roles for the stage and screen.
After polytech studies in photography and film, Fiona Gunter-Firth began working behind the scenes as a props buyer on commercials and TV shows. Gunter-Firth went on to a run of design jobs, including the lead job of production designer on Cover Story and cop show Shark in the Park. Long active in various screen organisations, she helped negotiate The Blue Book — a guide to working conditions in the Kiwi screen industry — while chairing the Wellington Technicians Guild. In 1989 she initiated the inclusion of technical awards in the local screen awards. Gunter-Firth has gone on to work in arts management.