New Zealand days – part 1

Warning: this post contains scary insects……..

Our rather sudden decision to emigrate to New Zealand in 1967 was really just an impulsive lark. It just seemed a good idea at the time. We were newlyweds and with my mediocre degree my prospects in the UK did not seem in any way promising. At the time commonwealth countries were making some tempting offers to teachers and nurses, so we fitted the bill.

Once the idea took hold, it was a Goldilocks’ porridge choice between Australia (too hot), Canada (too cold) and New Zealand (just right?). A choice based on stereotypes and skimpy research, and in my case influenced by the example of a boy at Fryent primary school who, years before, had beamed down in London NW9 one day from planet New Zealand. Actually I don’t think he remembered much about NZ, but I became so fascinated with this kid from a country on the other side of the world that I read up about it  in my second home, Wembley town hall library. (No internet then). The land of the long white cloud must have lodged itself in my young brain as a romantic aspiration; after all for us Brits it’s as far as you can go south without starting to come back.

And it has people called Maoris, covered in tattoos……… Continue reading

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My window faces the South: Part 1

Coming into the BBC from New Zealand television in 1973, I quickly realised that my training and experience as a TV producer / director there did not fit well into the quasi civil service BBC job hierarchy, so at the time I had no choice but to settle for the assistant producer “rank” when I was hired to work as a network director (transmission controller) at the TV Centre in London, on a series of short-term contracts. The job was a means to an end; I wanted get back to making programmes as soon as possible.

In those days BBC Television didn’t normally hire programme directors. Instead they called them assistant producers. A fairly meaningless title really, as almost everyone on a production assists a producer. Also an insulting title, especially on live programmes, where the split second decisions of the programme director translate instantaneously into actions which dictate what the viewer sees and hears, independently of a producer. Continue reading