In this Koha story, reporter Temuera Morrison arrives on the East Coast to watch the making of Mauri, the first dramatic feature directed solo by a Māori woman. Writer/director Merata Mita argues that the 50s set drama is "about birth and death, and all that takes place between", and talks about how the film is important in giving Māori filmmaking experience, and a voice on screen. Actors Zac Wallace (Utu) and Eva Rickard are interviewed, while locals talk about the challenges of making movies. There are also glimpses of some of the Ralph Hotere-designed sets.
John O'Shea was godfather to generations of Kiwi filmmakers; he was an inspirational force committed to bringing new perspectives to the screen. As Ngati actor Wi Kuki Kaa put it, "had he been a Māori, he would have been a kaumatua years ago". This documentary backgrounds O'Shea and his pioneering indie production company Pacific Films, ranging from his efforts to put Māori on screen, to banned 60s ads. The cast provides proof positive of O'Shea's influence — amongst the ex-Pacific staff interviewed are the late Barry Barclay, Tony Williams and Gaylene Preston.
Jonathan Brough’s documentary on the making of Whale Rider travels from the East Coast town of Whangara, where the mythical whale rider Paikea landed, to Hollywood. This excerpt concentrates on the movie’s vital special effects component: nine whales, brought to the screen through a combination of life-sized models and digital effects. The models were made by Auckland company Glasshammer; the largest measured 65 feet in length. The human element was also important, with actor Keisha Castle-Hughes describing the challenges of filming the whale-riding scenes.
Merata Mita argued forcefully that the voices of Māori and of women were sorely lacking on-screen. Best known for her Springbok tour documentary Patu!, the straight-talking director and actor later set up an indigenous filmmaking programme in Hawai'i, and spoke about indigenous film around the globe. After Mita passed away in 2010, her youngest son Hepi began making a film about her — discovering new sides to his mother as he trawled through footage, and interviewed his older siblings. The feature-length documentary debuted at the 2018 NZ International Film Festival.
This episode of the Māori Television series about Aotearoa artists follows Māori screen pioneer Merata Mita. Mita produced vital work anchored in culture and community. This extract concentrates on the occupation of Bastion Point. Mita and protest leader Joe Hawke talk of how 25 May 1978 shaped her concerns as a filmmaker: "It was life, it was a transformation". The documentary includes footage from Bastion Point: Day 507, Patu, Mita's feature Mauri and Utu, and sees her running a lab for indigenous filmmakers. The episode was the 17th screened in Kete Aronui's fifth season.
The Camera on the Shore is a feature-length portrait of a man who argued eloquently for the rights of indigenous people to control the camera. Based on extensive interviews with Barry Barclay and those who knew him — and footage from his work — it traces the path of one of the first people to bring a Māori perspective to the screen. The documentary ranges from Barclay's early years in a monastery to speeches at his tangi, touching en route on landmark TV series Tangata Whenua, battling corporations on doco The Neglected Miracle, and behind the scenes conflict on Te Rua.
Auckland Museum's Volume exhibition told the story of Kiwi pop music. It's time to turn the speakers up to 11, for NZ On Screen's biggest collection yet. Turning Up the Volume showcases NZ music and musicians. Drill down into playlists of favourite artists and topics (look for the orange labels). Plus NZOS Content Director Kathryn Quirk on NZ music on screen.
Greg Mayor was one of the only journalists in the world to visit the set of Jane Campion film The Piano. In this report, Mayor and a camera crew from Marae encounter Māori extras on location at Karekare Beach. Actor Pete Smith (The Quiet Earth) undergoes four hours of makeup, most of it getting his moko painstakingly applied; the film's Māori Advisor Waihoroi Shortland remarks that things are improving in terms of how Māori are treated in the film world, but argues that truly Māori stories are yet to be told; and ta moko artist Gordon Hatfield is among the waiting extras.
Screen taonga Ramai Hayward has lived many lives, and this Koha special touches on most of them. Still vibrant at age 73, Hayward climbs a favoured apricot tree from her Wairarapa childhood, kickstarting a journey through old haunts and celluloid: the school where she produced a play at 12, the photo studio she commanded during WW2, and the sprawling Mt Eden house that was filmmaking HQ for her and husband Rudall Hayward. Ramai also recalls pioneering films shot in China, an encounter with Chairman Mao, and bullying tactics by the CIA.
This documentary goes behind the scenes on New Zealand television's first historical blockbuster: 1977 George Grey biopic The Governor. Presenter Ian Johnstone looks at how the show reconstructed 19th Century Aotearoa, and handled large scale battle scenes. The footage provides a fascinating snapshot of a young industry. Also examined is The Governor's place in 1970s race politics and its revisionist ambitions. Key players interviewed include creators Keith Aberdein and Tony Isaac, and actors Don Selwyn, Corin Redgrave, Martyn Sanderson, and Terence Cooper.