Peter Jackson has gone from shy fanboy to master of his craft; from Pukerua Bay to Wellywood. With six journeys into Middle-earth now behind him, he has few peers in the realm of large scale filmmaking. Led by early 'behind the scenes' docos this collection pays tribute to PJ's journey, from re-making King Kong in his backyard to err ... re-making King Kong in his backyard.
Brian Brake is regarded as New Zealand's most successful international photographer. But before heading overseas to work for photo agency Magnum and snapping iconic shots of Picasso and the Monsoon series for Life magazine, he was also an accomplished composer of moving images. He shot or directed many classic films for the NFU, including NZ's first Oscar-nominated film.
Great adverts are strange things: mini works of magic, with the power to make viewers smile, cry, and even buy. Kiwi directors have shown such a knack for making them, they've been invited to do so across the globe. But this collection is about local favourites; dogs on skateboards, choc bar robberies, ghost chips. NZ On Screen's Irene Gardiner backgrounds the top 10 here.
In this episode from a series for secondary school music students, singer Hinewehi Mohi recalls the controversy that followed her Maori language rendition of 'God Defend New Zealand' at the 1999 Rugby World Cup. She talks of her immersion in music at school and its importance to her following the birth of her daughter with cerebral palsy (and the Raukatauri Music Therapy Centre this inspired her to establish). As a songwriter who doesn't play an instrument, she explains the origins of 'Kotahitanga' — her Maori language-meets-dance pop hit with Oceania in 2002.
Mareko, Savage and Alphrisk from Dawn Raid act Deceptikonz offer a rhyme filled hip hop primer in this episode from a series for secondary school music students. Their vision of hip hop has little use for American-style guns and gangster rappers, but fighting with words is another matter and there are tips on the art of writing a battle verse (along with unlikely endorsements for The Discovery Channel and English classes). They also stress the importance of understanding an industry where artists arrive as musicians but need to leave as businessmen.
In this episode from a series for secondary school music students, James Reid (from The Feelers) and his brother Donald (a singer-songwriter who has co-written several Feelers songs) recall their school days when music making was frowned on by guidance counsellors rather than encouraged by projects like this one. Armed with acoustic guitars and a piano, they play excerpts from four songs (‘Communicate’, ‘We Raised Hell’, ‘Fishing For Lisa’ and ‘Unleash the Fury’) and discuss their philosophy of songwriting which is “all about being in the moment”.
Former Blam Blam Blam, Front Lawn and Mutton Birds member, Don McGlashan takes time out from making his first solo album to talk about songwriting in this episode from a series made for high school music students. McGlashan is passionate in exhorting his audience to write their own songs and make their own voices heard. Acoustic versions of his classic 'Dominion Road' (written about a neighbouring street) and another Mutton Birds number 'White Valiant' (based on a dream) underline his enthusiasm for writing about immediate surroundings, not faraway places.
Wayne Mason — multi-instrumentalist and composer of The Fourmyula classic 'Nature' — talks about songwriting and his musical evolution in this episode, from a series made for high school students. He demonstrates his piano playing (on an energetic boogie-woogie work out) and a Scandalli accordion on 'High and Dry' (which he wrote in the Warratahs). He discusses the origins of 'Nature', and his songwriting technique (which always begins on a guitar); and muses on his high school band The Fourmyula which took him to Abbey Road, where he met The Beatles.
Hip hop DJ/ producer P-Money (Pete Wadams) talks about a career born from very modest beginnings in this episode from a series for secondary school music students. After initial attempts at scratching on his father’s turntable were quickly rebuffed, he began making music using twin cassette decks. Success in DJ contests followed; and creating his own beats led to collaborations with acts including DLT, Scribe and Che Fu. He describes the process where his music for Scribe’s ‘I Remember’ was built up from samples from a particularly unlikely source.
Bill Lake of Wellington blues/roots institution The Windy City Strugglers takes the podium for this episode from a series for secondary school music students. Accompanied by fellow Strugglers Andrew Delahunty (guitar) and broadcaster/music critic Nick Bollinger (bass), he plays ‘Good Grief’ as an example of the way a song can be written through thinking about a single phrase. However, the main order of business is a beginners guide to the blues and rock’n’roll rhythms he holds so dear (along with a demonstration of guitar playing using open tunings).