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Robyn Malcolm and Temuera Morrison star in new drama Far North (Image: South Pacific Pictures / Design: Tina Tiller)
Robyn Malcolm and Temuera Morrison star in new drama Far North (Image: South Pacific Pictures / Design: Tina Tiller)

Pop CultureAugust 14, 2023

The unbelievable true story that inspired new local drama Far North

Robyn Malcolm and Temuera Morrison star in new drama Far North (Image: South Pacific Pictures / Design: Tina Tiller)
Robyn Malcolm and Temuera Morrison star in new drama Far North (Image: South Pacific Pictures / Design: Tina Tiller)

Far North creator David White tells Tara Ward why his new television drama is stranger than fiction. 

Director and writer David White knows an amazing yarn when he hears one. Back in 2016, White stumbled across an article about what was then New Zealand’s biggest drug bust, and sensed there might be more to the story. “As a documaker and as a consumer of news, you sort of go, ‘hey, this story doesn’t quite add up’,” White (This Town, Meat) remembers. He dug further into the case, discovered the involvement of Northland locals Heather and Ed, and jumped in the car. “I drove to Ahipara and found the couple and I just knocked on the door,” White says. 

After two hours of talking to Ed, White offered to buy the life rights to the story on the spot. It’s a tale that has it all: an international drug-smuggling ring, an inept gang of criminals, a record amount of methamphetamine and two unassuming locals who bring the whole thing down. These events inspired White to write new Three drama Far North, and while the show is “mostly” based on a true story, White says much of the action plays out exactly as it did in real life. “When I was researching it, some days I would just go, ‘sorry, what did I just read?’” he says. 

“The reality of what was happening and what they were doing to get these drugs, and the way the real life Ed told me the story, I was like ‘this was so unbelievable’.” 

David White (left) and Temuera Morrison on the set of Far North (Photo: South Pacific Pictures)

Tonight, viewers will see how unbelievable the story really is. Episode one sees a boat arrive from Hong Kong carrying 500kg of meth, only to break down off Te-Oneroa-a-Tōhē Ninety Mile Beach, stranding its Chinese crew at sea. On land, a hapless criminal gang scrambles to bring the drugs ashore, but their ongoing incompetence draws the attention of Northland locals, including Heather (Robyn Malcolm) and Ed (Temuera Morrison). Later, after kindly helping the strangers launch their boat off the dangerous west coast, Heather and Ed slowly realise that something much bigger – and much dodgier – is taking place in their town. 

White moved to Ahipara while he wrote the screenplay, embedding himself in the community and becoming close friends with the real Heather and Ed. As a documentary maker, White understands that it takes time for people to trust someone else with their story. “I spent a long time walking up and down the beach with the real life Heather and her dogs, talking about the world. It was a dream in that respect,” he says. “Heather and Ed are so beautiful and down to earth and lovely and caring. Tem and Robyn have done a great job portraying them.

Morrison and Malcolm bring warmth and relatability to the roles of the salt-of-the-earth mechanic and his aqua-aerobics instructor wife, who unwillingly become entangled in one of New Zealand’s most bewildering crimes. It’s a small-screen reunion for the pair who first starred together in Shortland Street during the 1990s, and White says both actors threw themselves into their roles. “Tem might be Boba Fett, but he was on that tractor, he did all his own stunts,” he says. “Both of them launched the boats in episode one. They got stuck in and had a real ball.” 

Temuera Morrison as Ed and Robyn Malcolm as Heather (Photo: South Pacific Pictures)

With a story this mind-blowing and an acting duo that iconic, White says he had big ambitions for Far North to be a premium drama that was large in scale. Production took place in Northland, Hawke’s Bay and Auckland over two months, and includes storylines that feature Chinese actors speaking in Mandarin. White co-wrote and co-directed the show with Mingjian Cui (Inked) and Suli Moa (The Panthers), and he’s thrilled that Far North will be bringing Chinese language to New Zealand television in a primetime slot.

With the show soon to screen in both Australia and the United States, White says he was never interested in making just “another meth story” about Northland, but rather wanted Far North to tell the tale of a community banding together. Coupled with the dark Kiwi humour that has gained international respect in recent years, Far North will resonate with viewers around the world, White reckons. “This story happened in Ahipara, but because of the globalness of that drug trade, it really could have happened anywhere,” White says.

Far North wants us to think about what we’d do if we ever found ourselves in Heather and Ed’s situation – but above all else, it remains an amazing yarn. “I hope everyone has fun watching it, because it is insane,” White says. “It’s so crazy, and it only gets crazier.”

Far North screens on Mondays at 8.30pm on Three and streams on ThreeNow. 

‘Media is under threat. Help save The Spinoff with an ongoing commitment to support our work.’
Duncan Greive
— Founder
Keep going!
Don’t pass go, do not collect $200, go straight to the front and enjoy the film. (Image Design: Tina Tiller)
Don’t pass go, do not collect $200, go straight to the front and enjoy the film. (Image Design: Tina Tiller)

Pop CultureAugust 14, 2023

Hear me out: The best seats in the cinema are up the front

Don’t pass go, do not collect $200, go straight to the front and enjoy the film. (Image Design: Tina Tiller)
Don’t pass go, do not collect $200, go straight to the front and enjoy the film. (Image Design: Tina Tiller)

You’re there to see the movie, not to watch other audience members being annoying. Sam Brooks has the perfect solution to this problem – and it’s all about where you choose to sit. 

This past week, I saw five films in the New Zealand International Film Festival, all of them at Auckland’s gorgeous Civic Theatre. For all but one, I was seated in my favourite spot: Row D, a little bit to the right. 

I got to see Natalie Portman’s poreless face in May December, count every drop that Jussi Vatanen guzzled down in Fallen Leaves, and fall into Koji Yakusho’s beatific smile in Perfect Days. It was just me, and these four (pretty damn great) films.

If I was sitting in what is generally assumed to be the best seats in The Civic – somewhere in the back half, close to the centre –  I wouldn’t have had that experience. Even during some middle-of-the-day screenings I would likely have been confronted by what passes for normal cinema behaviour in the present day – people on their phones, people leaning over to ask a question at the precise moment they forget how to whisper, people deciding whether they want to put their crotch or their rear in someone’s face as they shuffle in and out.

Instead I got to sit in my row D seat watching a film as it was intended: being able to watch the film, and just the film.

A buzzing Civic Theatre (Photo: Dave Simpson/WireImage/Getty Images)

Sitting near the front is what I do in any cinema now, whether it’s The Civic or anywhere else that’s showing a film I want to see. Even if the place is empty, I’ll still waltz my way over to a row between B and E, plop myself down with a popcorn and a wine or beer, or both (seeing Barbenheimer? Try pinotlager) to enjoy whatever is before me.

By doing this, I get around boring audience admin. If I’m alone, I’m rarely at any risk of a stranger sitting next to me, which as we all know is one of the worst things that can happen to a cinema goer. I’m also rarely at risk of having somebody say to me “Um, that’s my seat”, unless the movie is sold out.

Most importantly, I don’t have to actually see anybody. Cinemas are, essentially, public spaces. And like most public spaces, people can do whatever the hell they like in them. They can talk. They can eat loudly. They can check their phone. They can bob their head in ways that are distracting even in the enveloping darkness of a cinema. Literally, anything.

If you’re in the back row, you can see all these people do whatever they want to do. Because they’re in front of the screen you’ve paid to watch. That’s how things work, spatially.

But me? I’m in row E. Do whatever you want, rows H-Z, I’m sitting here watching Emily Blunt swill a wine in Oppenheimer, wondering if Christopher Nolan is sexist or just dumb. Come in at any time, seat S26; I’m nodding my head at America Ferrera’s climactic monologue in Barbie. Come in and out all you like, usher, I’ll be here, not making a fuss, in row E.

When I see a movie, I’m not there to see other people. I’m there to see a movie.

(Note: Like most public norms, this doesn’t apply to rowdy or midnight screenings. These are meant to be raucous, community events. I will sit wherever I can in these performances, and enjoy myself accordingly!)

Silky Otter
The front row at Silky Otter cinema (Photo: Supplied)

I can hear your objections, even as I type this, days before you angrily clicked on a headline to disagree with me.

“I’ll hurt my neck?” Nope. You might have to gaze upwards, but if you’re bending your neck to look at the screen from even the front row, your posture might be the issue. (Also, if bending your neck hurts, you might need medical attention.)

“I’ll hurt my eyes!” This one is kind of valid, but I’ve never felt any pain in my eyeballs. Again, you’re probably far enough away from the screen that you’re fine. Your phone screen is probably more of a hazard to your eyes than this cinema screen is.

“It looks weird.” OK, look. I’m gonna tell you a secret:

The movie looks pretty much the same no matter where you sit. Because that’s what the camera is for: to frame the action from a certain direction. The difference you feel when you’re sitting in the third row compared to the 13th or 30th is infinitesimal – except in the latter you’re more likely to be distracted by all of the things I have outlined above.

And honestly, it might look better. One of the best cinematic experiences I’ve ever had in my life was when I’d booked supremely late to a screening of The Tree of Life in the NZIFF back in 2011. I ended up being, yup, in row D. It felt like a religious experience, to have an unashamedly cinematic experience, blown up large and shoved in my face, on a screen that was bigger than any I would ever see it on ever again.

And the best part? It was just me and the film.

‘Media is under threat. Help save The Spinoff with an ongoing commitment to support our work.’
Duncan Greive
— Founder