A Bit After Ten - Series One, Episode 11

Television, 1993 (Full Length)

It's the first semi-final in the first series of this stand-up comedy talent quest presented by Jeremy and Nigel Corbett (who assert their edgy, early 90s credentials with a running gag about Nirvana). Judges Ian Harcourt, Theresa Healey and Strawpeople's Mark Tierney preside over a line-up comprising a very composed Michele A'Court, mildcore rappers Hip Hips, The Back Garden, Jo Randerson (in angry-ish feminist mode), a particularly hirsute Jon Bridges and eventual winner Late Night Mike (with Harcourt generating as many laughs as the contestants).

Street Legal - Pilot

Television, 1998 (Full Length)

One of a trio of late 90s Kiwi crime-based pilots, Street Legal was the only one that would  successfully spawn a series - four series, in fact (though Kevin Smith vehicle Lawless saw two further tele-movies). The Street Legal pilot provides a stylish big city template for the show to come, as Auckland criminal lawyer David Silesi (Jay Laga-aia) enlists the help of an over- enthusiastic journalist (Sara Wiseman) in the hope of winning an out-of-court settlement over a hit and run case. Meanwhile Silesi's lawyer girlfriend smells something fishy - with good reason.

Series

A Bit After Ten

Television, 1993–1994

One of NZ TV's first forays into stand-up comedy, this talent quest based show ran for two series (the second as A Bit More after Ten). It was hosted by Jeremy Corbett and his brother Nigel (in his TV debut), with Ian Harcourt (ex-Funny Business) as a resident judge (aided by two celebrities each week). Home viewers also voted, helping propel eventual winner Late Night Mike into the first final. Michele A'Court, Te Radar, Jon Bridges, Dean Butler and Andrew Clay graced its set and later graduated to its stand-up successor, the long running Pulp Comedy.

Sons for the Road

Television, 2004 (Excerpts)

Auckland's Massive Company began in 1998 as a youth theatre group, committed to developing multicultural talent. Sons for the Road records a big moment in their evolution: performing at London's Royal Court Theatre, whose long history includes launching another piece of cross-cultural fertilisation, The Rocky Horror Picture Show. Their play is The Sons of Charlie Paora, a tale of rugby players and troubled male identity developed by Massive and UK writer Lennie James (who would later join the cast of hit The Walking Dead). The Independent called the play "wonderfully engaging".

Wicked Weather - The Wind

Television, 2005 (Full Length Episode)

Produced by NHNZ, this NZ Screen Award-nominated 2005 TVNZ series looks at Aotearoa’s diverse weather. This first episode (of three) explores "the main driving force behind all our weather" — the wind — from the science behind where it comes from, to its impact on people (from sport to the economy). Presenter Gus Roxburgh contends with Wellington’s infamous wind, and with Auckland’s tornadoes and cyclones. He looks at when weather is good (wind farms, windsurfing) and when weather goes bad (the Wahine disaster, Cyclone Bola, landing at Wellington Airport). 

Sprung

Short Film, 2013 (Full Length)

In director Grant Lahood's 2013 Tropfest NZ entry a young boy takes Kiwi ingenuity to the next level by creatively adapting his gumboots to net sporting victory. But it’s a risky move. Sprung marks a return for Lahood to his dialogue free short film beginnings (eg. Cannes award-winner The Singing Trophy, and his debut Snail’s Pace). Like those shorts, Sprung has a devilish sense of humour, and a crisply edited contest of wills. The ode to the courage of the young and the unpredictability of science was scored by veteran film and TV composers Plan 9. 

Street Legal - First Episode

Television, 2000 (Full Length Episode)

Running an impressive four series, stylish crime show Street Legal centred around a struggling Auckland law firm, home base for unorthodox lawyer David Silesi (Jay Laga'aia), and sometime girlfriend Joni Collins (Kathleen Kennard). 'Ellis's Restaurant', the first episode made following the pilot, sees Silesi defending an ex-junkie on a possession charge, and facing off for the first time on screen against Sergeant Keens Van Dam (Charlies Mesure). The episode also sees the debut of Silesi's beloved 1944 Ford Jailbar, after his Ute unexpectedly ends up in pieces.

Series

A Shocking Reminder

Television, 2012

Christchurch based Paua Productions set out to document the effects of the city’s 4 September earthquake in 2010 but found themselves overtaken by the tragic events of 22 February 22. Their focus is the experiences of everyday people coping with the destruction of large tracts of their city, significant injuries and major loss of life as liquefaction, ruined homes and thousands of aftershocks prolong the initial trauma. A number of the interviewees were followed over a year, as they struggled to come to terms with what had happened and move on.

Staunch

Television, 1999 (Full Length)

Staunch follows the politicisation of Ariana (Once Were Warriors’ Mamaengaroa Kerr-Bell) a young Māori woman who’s run into trouble with the law. Guided by a sympathetic social worker (Tamati Patuwai) she defends herself against assault charges following a police raid on her home. The Auckland-set TV3 drama was inspired by fact, and co-written by director Keith Hunter and playwright Toa Fraser; it won multiple gongs at the 2002 NZ TV Awards. Staunch was an early screen credit for Fraser (director of feature films No. 2, Dean Spanley, and ballet doco Giselle). 

From the Archives: Five Decades (1990s)- Peter Elliott

Television, 2010 (Excerpts)

This Heartland channel series marked 50 years of television in New Zealand. Each episode chronicled a decade of screen highlights, alongside an interview with a personality who worked in that era. In this excerpt from the 1990s episode, host Andrew Shaw chats to Peter Elliott about his TV career, from painting the floor for Grunt Machine to becoming a high profile actor (Gloss,  Shortland Street), and presenter (Captain’s Log). Elliott reflects on the Shortland Street (and Civil Defence advert) curse, and the screen industry’s growing confidence in telling local stories.