"Jane Campion has been a dominant force in world cinema for nearly two decades. Shot delicately in black-and-white, A Girl's Own Story is an early short film that traces the stories of three suburban teenage girls (Pam, Gloria and Stella) in 1960's Australia. It deals with the difficulties of burgeoning sexuality, incest, friendship and family against the backdrop of Beatlemania and an era that valued the isolating notions of purity and wholesomeness over honesty and acceptance."
(Anton de Lonno 11 July 2010, Senses of Cinema)
"Ward's 'What Dreams May Come,' starring Robin Williams was nominated for production design in addition to winning an Academy Award for Best Visual Effects. The film, tells an epic love story of soul mates separated by death. The story would inspire Ward to envision the afterlife as a painted world, incorporating state-of-the-art, adapted, and entirely new visual effects technologies in an original, fully articulated, filmic view of imagined realms that may await us after death."
"Editor Annie Collins has worked with some of New Zealand's most provocative directors, including Barry Barclay (The Neglected Miracle), and Merata Mita (Patu!) over a 30 year editing career. Collins has also edited key feature films, (Scarfies, Out of the Blue) and was part of the editing team on Peter Jackson's Lord of the Rings.
NZ On Screen's Clare O'Leary visits Collins at her home and Collins reflects on:
Her beginnings in the industry and being convinced by producer Pat Cox to shelve her design training and become an editor.
What she requires of directors ('that they've done their homework!')
Cutting Patu! with Merata Mita: evading the police and becoming conscious of the Springbok Tour Protests' relevance to New Zealand history and realising the (different) echoes it had for Mita as a Māori filmmaker.
Working with director Robert Sarkies on Scarfies and Out of the Blue
The four and a half years she spent working on the Lord of the Rings trilogy and the realisation that despite the 'profound experience' of working on such a massive scale project that she needed to get back to New Zealand stories.
Her consciousness of the power of the edit: 'it takes about five seconds for you to destroy somebody in a cut, or edit, on national TV.'
The ethics of story-telling: the need for the people who are involved in a documentary (or a story where the subjects are still alive) to follow 'good process' and the importance of 'clarity of mind and heart.'"
(Clare O'Leary, 12 February 2009, NZ On Screen)
Fig.1 direction and Interview - Clare O’Leary, camera and editing - Leo Guerchmann
"Swinging the Lambeth Walk (1939), a four-minute, hand-painted Dufaycolor film 'with a colour accompaniment by Len Lye', matches visual motifs to musical instruments: diagonals introduce piano phrases, circles express drum beats, wavy horizontals represent guitars licks, vertical lines map base parts, etc. Primary red, blue and deep green colour fields are rendered frameless by upwardly cascading kite shapes, luminous tapered stripes, and batik-like patterns."
[Distributors: Govett Brewster Art Gallery, New Plymouth, Aotearoa New Zealand]
"In Free Radicals Len Lye put aside his interest in colour and concentrated on a stark, black and white use of the 'direct' method, by scratching on black leader. He has described the film as 'white ziggle-zag-splutter scratches ... in quite doodling fashion.' The film's title is a reference to modern physics -- 'free radicals' are particles of energy -- but the visual style is still reminiscent of tribal art."
(re:voir vidéo distribution)