This collection is a celebration of the eccentric, exuberant career of NZ screen industry frontrunner Tony Williams. As well as being at the helm of many iconic ads (Crunchie, Bugger, Spot, Dear John) Williams made inventive, award-winning indie TV documentaries, and shot or directed pioneering feature films, including Solo and cult horror Next of Kin.
In an age before Rogernomics, well before The Office, there was the afternoon tea fund, Golden Kiwi, and four o'clock closing: welcome to the early 80s world of the New Zealand Public Service. Gliding On (1981 - 1985) was the first locally-made sitcom to become a bona-fide classic. Inspired by Roger Hall's hit play Glide Time, the award-winning series satirised a paper-pushing working life familiar to many Kiwis. This episode features Beryl's non-smoking campaign, Jim's efforts to kick the habit, office sexual innuendo and a much-debated fire drill. "Morning Jim!"
In the third episode of Johnstone’s Journey, broadcaster Ian Johnstone meets three generations of the Wendelken family. The episode is framed around an interview with matriarch Elsie, 85, then living in Timaru — her daughter Rae and grandson Ivan farm nearby. Son John is a public servant in Wellington; granddaughter Anne is a mother in suburban Wellington. Topics span from world wars, depression, farming and inflation, to shifting values. Says Elsie: “There are two things that have been left completely out of today’s young people: one is obedience, and the other is discipline.”
This episode of the te reo Māori anthology series follows a scandalous relationship between Siva (Pua Magasiva), a 19-year-old Samoan man, and Haka (radio DJ Ngawai Greenwood) a 45-year-old Māori poet. Unable to contain their passion, the couple's public lovemaking hits the headlines. Siva's family take matters into their own hands. This episode marked the first on-screen starring role for Magasiva, who would make his name as nurse Vinnie Kruse in Shortland Street. Director Paora Maxwell later spent three years as Chief Executive at Māori Television.
Four-part series Standing in the Sunshine charted the journey of Kiwi women over a century from September 1893, when New Zealand became the first country to grant women the right to vote in parliamentary elections. This third episode, directed by Melanie Rodriga, looks at women over a century of work — plus education, equal pay, family, art, and Māori life. Interviews are mixed with archive material – including a mid-80s 'girls can do anything' promotion – and reenactments of quotes by Kiwi feminist pioneers. Writer Sandra Coney also authored a tie-in book for the series.
After honing his skills in the Awapuni Concert Party, Howard Morrison found fame in the late 50s with the Howard Morrison Quartet. Regularly on tour, the group ranged across pop, country, rearrangements of Māori standards, and parodies — including creating the lyrics for apartheid send-up 'My Old Man's an All Black'. Morrison continued to perform solo after he called time on the quartet in 1964; a number of his concerts screened on television. His biggest solo success was 1981 chart-topper 'How Great Thou Art'. As a public servant, he worked to motivate Māori youth. Morrison passed away on 24 September 2009.
This episode of New Zealand's own office comedy sees John (Ross Jolly) concluding that a love of stamps makes the boss (Ken Blackburn) a natural fit for Mastermind — next thing, the stores branch staff are gathering around with imaginary cameras and desk lamps, to help him practise for the pressures of facing quiz master Peter Sinclair. Meanwhile the team try to score another victory by getting an astrological chart made for a racehorse. Roger Hall's sitcom about public servants was a bona fide hit, long before Rogernomics and Ricky Gervais in The Office.
English cameraman John Earnshaw moved downunder in 1975, just as the local screen industry was hotting up. A director of photography on hundreds of commercials, he shot two feature-length projects: cult movie Angel Mine, one of the earliest entries in the Kiwi movie renaissance, and TV movie A Woman of Good Character. He passed away on 3 March 2014, leaving behind him a passion project involving a mysterious Boeing aircraft.
An ideas man who campaigned for a Government film body, Stanhope Andrews would become the National Film Unit's first manager. Andrews commanded the Unit for a decade. Along the way he oversaw dramatic expansion, set up regular newsreel Weekly Review, and opened the door to filmmakers of both genders.
As a war correspondent filming the New Zealand forces in Italy and the Middle East, Ron McIntyre played a key role in supplying the raw material for the early films of the National Film Unit. After nearly four years overseas, he returned home and tried his hand at independent filmmaking. McIntyre spent just over seven years with the NFU as a cameraman and director, and also worked briefly for Pacific Films.