Off his own bat, Ilam art student Glenn Standring got his third-year short into competition at the Cannes Film Festival. The minimal plot — hipster private eye Lenny Minute dryly narrates, before facing his nemesis, a rampaging giant blue “sheila doll” — allows Standring to conjure up a distinctive collage-styled cityscape, mined from a grab-bag of Americana inspirations: 50s sci-fi, jazz, the hardboiled detectives of Dashiell Hammett, and star Marlene Dietrich. After this early computer-aided short, Standring joined the Gibson Group as an animator, then directed two stylish features.
Cannes is the town in France where Bergman meets bikinis, and the art of filmmaking meets the art of the deal. In 1975, a group of expat Kiwis managed to score interviews with some of the festival's emerging talents, indulging their own cinematic dreams in the process. Werner Herzog waxes lyrical on the trials and scars of directing; a boyish Steven Spielberg recalls the challenges of framing shots during Jaws; Martin Scorsese and Dustin Hoffman talk a gallon. Six years later interviewer Michael Heath's debut script The Scarecrow would be invited to Cannes.
This bloopers reel from Pasifika youth show Fresh begins with a series of pieces to camera gone wrong: sibling presenters Nainz and Viiz Tupai (Adeaze) get the giggles introducing 'Fresh Games', Laughing Samoan Tofiga Fepulea'i gets his man breasts ready for action, and Pani and Pani get lyrical about raisins. 'Fob Outs' (outtakes set to Outkast’s 'Hey Ya') include Scribe missing a beat, All Black Jerome Kaino getting tongue-tied, choreographer Parris Goebel pulling faces, actors Robbie Magasiva and David Fane mugging for the camera, and Nicole Whippy getting funky.
Cinematographer Stuart Dryburgh is the eye behind some of the most iconic images in New Zealand film. His first job in the industry was as a 'general assistant' on Middle Age Spread. From there he worked as a gaffer on films including Smash Palace, Goodbye Pork Pie and Came A Hot Friday, before becoming a fully-fledged cinematographer, learning much of what he knows from his mentor Alun Bollinger, who operated the camera for him on The Piano. Since shooting The Piano, Dryburgh has been working overseas, returning to film In My Father’s Den in 2004.
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.
Christchurch editor, artist and animator Ken Clark turned a childhood passion for magic and monsters into stop motion animation. After making student films, a decade at TVNZ saw him editing staples across news, sport, and children's programming. He also designed titles for After School and CGI for What Now?. Since 1990 Clark has tutored in animation; his shorts have shown in galleries and festivals.
Danny Mulheron has come at comedy from almost every angle: as a writer, as a director, as co-creator of the politically-incorrect Seven Periods with Mr Gormsby, and from inside a hippo suit. But laughter is not the whole story. Mulheron has also acted in Close to Home and Roche, presented for car programme AA Torque Show, and directed everything from documentaries (The Third Richard) to Rage, a tele-movie on the 1981 tour.
Award-winning cinematographer John Chrisstoffels has been training his camera on Christchurch and its inhabitants for more than two decades: in music videos for record label Flying Nun, short films, movies, and occasional documentaries. The sometime director has taught film at Canterbury University's School of Fine Arts since 2002.