13.12.2012 Views

Draft 2 PhD Introduction - ResearchSpace@Auckland

Draft 2 PhD Introduction - ResearchSpace@Auckland

Draft 2 PhD Introduction - ResearchSpace@Auckland

SHOW MORE
SHOW LESS

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

175<br />

Chapter 5<br />

Vigil<br />

Ward’s involvement in the process of making In Spring One Plants Alone further<br />

convinced him that: “Filmmaking for me is to do with exploring who you are and where<br />

you come from. Weaving stories from these experiences to take people on some sort of<br />

journey”. 588 Vigil, his first full-length feature film, was grounded in his own<br />

experiences and background. This chapter will discuss changes in Ward’s approach<br />

which marked his development from student filmmaker to professional; it will also<br />

examine the unusual process of making the film, focussing on the development of the<br />

initial script to its final version, and the contributions of the cast and crew. This<br />

detailed record of writing and production will be a special feature of this chapter,<br />

offering a particular perspective on Ward’s aesthetic and providing additional evidence<br />

of his status as an auteur. I shall also consider the give and take between the New<br />

Zealandness of Vigil and its mythical or archetypal elements (which some would<br />

describe as universal). Lastly, the chapter will examine the importance of this film to<br />

the subsequent directions of New Zealand filmmaking.<br />

The film was released in 1984, four years after In Spring One Plants Alone, and it may<br />

be seen as the third of a trilogy of films that began with A State of Siege and In Spring,<br />

all focussing on strong female characters as the main protagonists. Ward has said:<br />

“This film feels like the completion of the other two – I feel my ideas are clearer and<br />

I’ve brought them to fruition”. 589 Vigil grew partly out of Ward’s experience in making<br />

In Spring.<br />

I felt that there were two films to be made while I was making this documentary<br />

– one was the documentary, and one was a drama. More than anything, it was<br />

the feeling there, which I wanted to translate into a feature film – the feeling of<br />

claustrophobia, of paranoia, and, at moments, of genuine human warmth,<br />

588<br />

Ward quoted in Carl Denham, "Profile: Heaven's above, a Religious Filmmaker," New Zealandia<br />

(1989): 40.<br />

589<br />

Mitchell, "Vincent Ward: The Eloquence of Isolation," 39.

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!