Draft 2 PhD Introduction - ResearchSpace@Auckland

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I knew that my slowness and lack of organization was responsible for some of
the problems, but I felt the real cause of this difficulty was my tendency to direct
in a monosyllabic and preoccupied manner […]. I was focused totally on my
work, unable or unwilling to notice the effect I had on those I worked with.
Those who gave the most naturally felt the most neglected and it seemed as
though I was interested in them only when they were useful to me. 767
Some crew members of earlier films had responded negatively to his directorial style,
but their responses had not threatened to de-rail the project. On this occasion the
tensions built to a point where Ward became very aware of them. Nevertheless, had he
or his producer not been so obsessive, such a film could not have been made. In that
sense, both had a “visionary” approach, very different from that of the average director
or producer. As Maynard said after its completion: “The only reason we’re here is
because of a ridiculous commitment Vincent and I had for the film”. 768 His and Ward’s
determination to make The Navigator was motivated by their “shared vision” Maynard
had “clearly seen what a good film it could be and what a far-reaching film it could be
in terms of an audience as well”. 769 The director also acknowledged that there was “an
element of tunnel vision. Otherwise I wouldn’t have kept going for four years. I would
have compromised. I would have turned back”. 770 Ward’s commitment was such that
even after the shoot had officially ended, “he persuaded crew and cast to stay on for two
extra weeks of pick-up shots which he paid for himself”. 771 Maynard’s support for
Ward makes one aware of the extraordinary loss that this producer’s departure
represented for the New Zealand film industry.
Director of Photography Geoffrey Simpson became involved with the film as part of the
Australian crew quota. Having already seen Vigil and admired its visual aspects, he was
familiar with Ward’s work before he read the script of The Navigator. On his first
meeting with the director, Simpson was asked what he thought of the script and he
replied: “It’s visual poetry”. He believes this “struck a nerve” with Ward. He was
subsequently hired to do the job and shortly afterwards flew to New Zealand to begin
pre-production. When he realised that “the script and the money equation didn’t work
767 Ward, Edge of the Earth: Stories and Images from the Antipodes 173.
768 Dowling, "Location Report: Medieval Mystery in Manurewa," 22.
769 Lynette Read, interview with John Maynard, 27 September 1999.
770 Calder, "The Navigator: Vincent Ward's Four Year Odyssey," 1.
771 Brent Lewis, "F&F Special Report," Films and Filming.413 (1989): 11.