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.
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.
A hunter heads home, to add his latest catch to an extensive wall of animal trophies. Then he sets about making some music. But things do not go to plan: with a mouse loose in the building, the chase is on. The third film by Kiwi king of the kooky, director Grant Lahood was nominated for Best Short Film at the Cannes Film Festival, and took away a special technical award. It was also judged best short film at the 1993 NZ Film and Television Awards. The Singing Trophy was filmed at Kahutara Taxidermy museum in the Wairarapa.
Sandy Houston's career in animation and visual effects has involved 70 plus movie projects — including animated classic Watership Down, visual effects landmark Jurassic Park, and Oscar-winners The Return of the King and King Kong. Along the way she has been on hand to watch computers become key tools in creating screen illusion.
The founding member of Oscar-winning special effects house Weta Digital, George Port laboured for seven months solo on the digital effects for Peter Jackson’s Heavenly Creatures. He went on to found Auckland effects company PRPVFX, which has supplied special effects for Xena: Warrior Princess, Rain of the Children and Green Lantern.
In 2010, thanks to his work on James Cameron's Avatar, Kim Sinclair joined the short list of Kiwis to have scored both an Academy Award and a Bafta. His globetrotting career as a production designer has seen him working in locations from Mexico to Thailand to the Southern Alps, and for directors Martin Campbell (Vertical Limit), Steven Spielberg (The Adventures of Tintin) and Robert Zemeckis (Cast Away).
Cinematographer Stuart Dryburgh has helped create some of the most iconic images of New Zealand cinema: the girl with a mop of red hair, standing at the end of a country road in Angel at my Table; the piano on a deserted beach in The Piano, and the charged kitchen scenes of Once Were Warriors.
Andrew Niccol is one of the rare Kiwis to have made a career in Hollywood, and to boot he has done so largely with films based on his original ideas. His directing debut was dystopic GE future tale Gattaca, and he wrote one of the most acclaimed films of the 90s, reality TV saga The Truman Show. He has directed A-list actors Al Pacino, Ethan Hawke, Uma Thurman, Nicolas Cage, and Justin Timberlake.
Peter Jackson has gone from being a shy, unknown fanboy making pastiche versions of his favourite fantasy movies, to a renowned master of his craft; from Pukerua Bay to Wellywood: today he has few peers in the realm of large scale filmmaking.
Though Michael Heath helped create a run of pioneering examples of the Kiwi cinema of unease, his contributions to our culture defy easy categorisation. His scripts include many films which have made a comfortable home between genres: children’s vampire tale Moonrise/Grampire, nostalgic Ronald Hugh Morrieson chiller The Scarecrow, Heath’s work with director Tony Williams, and his acclaimed song-cycle A Small Life.