Oh What a Day

Japanese film crew, an epic finale at Eden Park and Auckland in the 1980s … retired gaffer Tony Eversden reminisces about a very unforgettable film shoot.

I was a gaffer and supplied lighting for quite a few commercials for Japanese production companies in the 1980s. It was courtesy of Masa Sekikawa, a NZ-based Japanese go-to-guy who organised the NZ end of things. We had a good working relationship. He contacted me one day to say a production was coming to Auckland, a movie culminating with the heroine dying in the arms of the hero under the goalposts at Eden Park (it was the final scene).

This was before the floodlights had been put in at Eden Park and they wanted to light the whole ground from the stands with 6k HMIs. It was a big ask because in those days there weren’t many available, gaffers had one or two but nothing in the numbers available now. Also we had to square with an ‘Eden Park trust’ to shoot there and this trust was notoriously picky about letting anybody use the ‘hallowed grounds’, especially film crews. Anyway Masa must have done some smooth talking because we got the go ahead. Maybe it was the fact that Eden Park and NZ rugby in general is held in such high esteem in Japan. Also, that they came all the way to NZ to shoot just part of the movie here.

The logistics were a bit of a nightmare. We worked out that we needed about 15 of the HMIs. We had to contact the corporate box holders to ask if we could use their balconies to put the lights in. We didn’t want the lights to be too toppy, so it was eight on one side and seven on the far side. There was power on the side closest to Dominion Road but not on the Sandringham Road side so we needed two generators - lots to work through.

I’ve got to say my memory is not pin sharp about all the preparation for the shoot. I can’t remember if the Japanese DOP came and did a location recce, but I have a feeling it was left to me to organise (and they just went with it all once they got to NZ). There was also going to be some shooting around Auckland, mainly at the airport and shooting interiors on one of Air New Zealand’s 747s.

I had been working with Henare (Nare) Mato and Graham (Gracie) Spence so I contacted them to come in on this film. They both jumped at it as it was early on in their careers and a chance to work an overseas film was a big deal (as it was for me too). So we put a crew of about eight together with **Joe Bidois, Glen Court for the generators and Therese Mangos **(I had also previously worked with her and been impressed). The other two I can’t recall right at this time, sorry guys I can’t give you a name check.

I had to ring around NZ to round up all the 6k HMIs to use along with my own. Getting all the cabling was a problem and in the end I went to a rock and roll lighting supplier in Auckland to get the extra 63-amp 3-phase cables.

Once the cast and crew arrived I met the Japanese DOP with the Japanese gaffer and showed them what I was going to do – they were happy with it. We roughed all the lights in the next day getting to know the Japanese lighting guys who were working on the film. They were very friendly and really took to Nare, Joe and Therese (especially being Maori).

I think a great deal of drinking went on after hours with Joe getting the nickname “whiskey Joe”.

The next day we were going to shoot at the airport and on the plane so we set off with a reduced crew. I was used to working with Japanese crew and I knew the way they operate (they work at a fast pace). The others weren’t so I had to prime them up. I had an interpreter with me all the time to explain what the DOP and director wanted. Terry Fraser and Dennis Thompson were employed to do the gripping.

The next day was Eden Park. There were some day exteriors to be shot, then the night scenes. After the day exteriors were shot we all went into one of the big Eden Park restaurants for the evening meal before the night shoot. As we were having the meal, Masa told me that one of the producers was going to make a speech and was going to mention my name and that I was to stand up (which I duly did). All the Japanese stood up and clapped for some time. I have absolutely no idea what was said but I have to say it was nice to be recognised. I tried to include all the team but as I couldn’t speak any Japanese, it was difficult.

The shoot all went off without a hitch apart from the fact that we had to strike all the HMIs at the same time! We had one of the Japanese guys, not a lighting guy, striking one and the bubble blew on contact, freaking him out completely, much to the amusement of Nare and Joe.

Nare came up with the idea that we should give the Japanese lighting crew a Maori carving as a keepsake and his mate Guy Moana could carve them for us, we all thought it was a great idea and all chipped in to pay. The gift went down really well with the Japanese crew and cemented our relationship with them.

After the shoot the Japanese lighting crew shouted us all a massive seafood meal with all the seafood you can imagine. The night ended up in the karaoke bar (of course) at the old ‘White Heron hotel’. Finishing the evening, as you do, drinking and carousing like we’d all known each other our whole lives. Fond memories! Thanks guys, it was an absolute pleasure working with you. I never did see the final film but I hope it was a success.