by Brian Sibley
The local name for the long grey misty hump of an island that rose out of the sea was Kapiti Island but, as Peter’s childhood friend Pete O’Herne remembers, even if it were not the Skull Island, then at least it might be a place of potential adventures of the kind offered by Kong and other legendary movies: ‘We always thought it was possible; that maybe, if we could only get over there, get past the krakens that were probably living in the waters around its shores, that we’d find a fantasy island inhabited by monster crabs and other strange creatures.’ Peter Jackson also recalls the lure of the island:
I remember a lot of fun things from my childhood. Pukerua Bay was a great place to grow up because it was a very small town but it was also surrounded by bush and forests; there were steep hills and deep gullies; there were the beaches and the rocks and the ocean and, only five miles away – but totally inaccessible – a mysterious, fantasy island…
We would always wonder what was on that island. It wasn’t simply down to juvenile fancy, because there were many stories and legends about Kapiti: tales of the Maori chieftain, Te Rauparaha, leader of the Ngati-Toa tribe in the 1800s, who had established a ‘pa’ – a fortified Maori settlement – on the island.
There were melodramatic, bloodthirsty rumours of cannibalistic rituals and secret tunnels and caves filled with the skeletal remains of Maori warriors. As kids we never bothered about what was true and what wasn’t, we believed it all! And we dreamed of, one day, getting a boat and going over there and exploring. How bizarre that, years later, when the ship we were using to film King Kong started taking on water and beginning to sink, we ended up having to land on Kapiti Island, the Skull Island of our young fantasies.
Peter Robert Jackson was born in Wellington hospital on 31 October 1961. It was Halloween: although, at the time and for many years after, that appellation had little significance in a British Commonwealth country. Halloween was, after all, a strange, sinister, American festival…
Many New Zealanders celebrated, instead, Guy Fawkes Day, 5 November in commemoration of the thwarting of the Gunpowder Plot of 1605. Although popularly known as ‘Firework’ or ‘Bonfire’ Night it occasionally took on other names – ‘Mischief Night’ or ‘Danger Night’ – that hinted at links to that other holiday with its spooks and masks and trick-or-treating…
But, as it happened, Halloween wasn’t a wildly inappropriate date on which to be born. For Peter Jackson would not only fall under the spell of the fiends, monsters and extra-terrestrials of Hollywood and the comic-books, but would, eventually make his name and his reputation as a film-maker with movies about aliens, zombies and vampires – a true child of Halloween, Walpurgisnacht, the Day of the Dead…
Peter is a first-generation ‘pakeha’, a New Zealander of European descent; his parents, Joan and Bill, having met in New Zealand after separately emigrating there in the early 1950s.
My dad is the first child on the left, with two of his four brothers. Both my parents came from five-child households, yet I was an only child. My dad loved Charlie Chaplin movies and encouraged my love of silent comedy. He always said his father looked like Chaplin and would get people yelling ‘Hi Charlie’ at him. I can see why in this photo from the early Twenties. My granddad died at a comparably young age in 1940 – my dad always said it was due to his war injuries.
William Jackson had been born in 1920 in Brixton, South London; Joan Ruck, his wife to be, was also born in 1920 near the Hertfordshire village of Shenley; both of them were drawn to New Zealand – as were many others in the years immediately following the Second World War – in response to a tantalizing scheme in which the New Zealand Government offered free or assisted passage to single men and women, under the age of 36, looking to make a fresh start.
‘Emigrate to New Zealand for a NEW way of life,’ read a typical advertisement in a London newspaper of 1949. ‘Good Jobs…Good Pay…Good Living…New Zealand has a place for YOU in her future development.’
When Bill Jackson set sail on the Atlantis in 1950, his motivation for leaving home and family was less to do with good jobs and good pay as with his affection for a girl who wanted to emigrate from Britain. Bill, who had been working with a division of the travel agency, Thomas Cook, organised the girl’s passage and decided to go along too. The romance ended before ever the ship docked in Wellington, but Bill never regretted his journey to the other side of the world.
Bill became a government employee working for the post office – the deal on assisted passages required the émigré to sign a two-year work contract – found accommodation in Johnsonville, a few miles out of Wellington, and joined the Johnsonville Football Club, into which he later enlisted two other British lads who had recently arrived in New Zealand: Frank and Bob Ruck.
In 1951, the Ruck brothers’ sister, Joan, came to Wellington,
The only hint of any film or theatrics in my family’s background came through my mother, who was a member of the local amateur dramatics club in her home village of Shenley in Hertfordshire, England. Here’s Mum in some melodrama from what looks like the late 1940s.
together with their mother, for what was originally intended to be a six-month visit. After years of war-time rationing and post-war privations, the ‘good living’ promised in those immigration advertisements ensured that an eventual return to Shenley soon ceased to be an option for the future.
Joan got a job at a hosiery factory in the city and whilst attending Saturday matches at the Johnsonville Football Club where her brothers played, met and struck up an acquaintanceship with one of their British mates – Bill Jackson.
Bill and Joan’s friendship blossomed and two years later, in November 1953, they were married and moved to Pukerua Bay, purchasing a small holiday home. The single-storey, two-bedroom house was small, but had a wide uninterrupted view overlooking the ocean and the rugged splendour of the Kapiti coastline.
Taking its name from the Maori word for ‘hill’, Pukerua was founded on the site of a Maori community. Along the side of the hills, which drop sharply to the sea, snakes the precarious track of the Paraparaumu railway line out of Wellington. The area is virtually as unspoilt today as it was fifty years ago, with its wooded and heather-covered slopes; its equitable climate, facing north and protected from the cold south winds by the hills of the Taraura Ranges; and its glorious sunsets that, in the late afternoon, turn sea and sand to gold.
Mum and Dad both emigrated to New Zealand separately and met in Johnsonville.
The year after their marriage, Bill Jackson got a job as a wages clerk with Wellington City Council. Loyal, dedicated and hardworking, he remained an employee of the Council until his retirement, by which time he had risen to the position of paymaster.
After years of my parents trying to have a baby, I finally turned up in 1961. For whatever reason, Mum and Dad couldn’t produce a brother or sister for me.
Born in 1961, Peter was a late child of Joan and Bill’s marriage, and complications during the confinement meant that he was destined to be an only child.
Being an only child and not having anyone else to bounce ideas off, you have to create your own games with whatever props come to hand. You find that you create your fun and entertainment in your own head, which helps to exercise the mind and trains you to be more imaginative…
As an only child – as well as being long-awaited and, therefore, much treasured – Peter was also the sole focus of his parents’ love, care, attention and encouragement. Without sibling companionship or competitiveness, Peter instinctively related to an older generation and, in particular, one that mostly comprised veterans of the 1939–45 war. Peter’s youthful imagination was excited by the overheard reminiscences of his elders and the stories that they told a youngster eager for tales of dangers and heroisms.
The Second World War was the dominant part of their most recent lives. Mum would tell me lots of stories about her life: the air-raids and doodlebugs and her experiences working as a foreman in a De Havilland aircraft factory where th
ey built the Mosquito bomber which was largely made out of wood and was known as the ‘Timber Terror’.
My father didn’t talk as much about his wartime experiences, as I
I grew up with Grandma Emma as the matriarch of the family. She taught me to love card games and was a wonderful cook. In her younger years, she was a cook for an upper-class family in London. Upstairs, Downstairs was her favourite show – it was the world she came from. Here she is holding me as a baby. She lived to be 98 and died just as I was making Bad Taste.
would now have liked…He had served with the Royal Ordnance Corps in Italy and, before that, on the island of Malta. This was during the grim years of 1940–43 when German and Italian forces lay siege to the British colony that was of such crucial importance to the war in the Mediterranean and which, as a result, suffered terrible hardships.
Dad spoke about some of what he had seen, but he never really dwelt on the bad things; although he did talk about his time on Malta when, due to enemy blockades and the bombing of supply-ships, the entire island was starving for a period of months and his body-weight dramatically dropped to around seven stone.
He told me the story of the SS Ohio, the American tanker that, in August 1942, was carrying vital fuel to Malta for the British planes when it was attacked by German bombers and torpedoes. Without a rudder, with a hole in the stern, its decks awash and in imminent danger of splitting in two, the tanker was eventually strapped between two destroyers and towed towards the island. Dad was one of the soldiers on the fortress ramparts of the capital, Valetta, when – at 9.30 on the morning of 15 August 1942 – the Ohio finally, and heroically, limped into Malta’s Grand Harbour.
I also heard about the arrival by aircraft-carrier of the first Spitfires in October 1942 and how the 400 planes based at Malta’s three bombsavaged airfields, instantly began an air-defence of the island, flying daily sorties to repel attacks from the German Luftwaffe and the Italian Regia Aeronatica that were based in Sicily.
Enemy aircraft, which were not used to being opposed, were in the regular habit of flying in and beating the hell out of the island – they made some 3,000 air-raids in just two years. On the first raid after the Spitfires had arrived, Dad remembered how he and many others had chosen not to go into the shelters but to stay outside and watch as the bombers roared in across the sea to be greeted by a swarm of Spitfires and the cheers of an island full of people who could, at last, fight back.
But the stories that most excited me – and which led to what has been a life-long interest in the First World War – were those my father would relate about his father, William Jackson Senior. My grandfather joined the British army in 1912 and, when war broke out two years later, was one of the comparatively few professional soldiers amongst the legions of raw conscripts. He went through many of the major engagements of WWI: on the Western Front at the Battle of the Somme; at Tsingtao in China and at Gallipoli, where he was decorated with the DCM (Distinguished Conduct Medal), the oldest British award for gallantry and second only to the Victoria Cross.
The story of the heroic, but ill-fated, struggle on the beaches of the Turkish peninsula of Gallipoli is one of the most dramatic conflicts of the First World War. The combined Allied operation to seize the Ottoman capital of Constantinople, staged in 1915, was a tactical disaster and the price paid by both sides in terms of lives lost and injured was disastrous: more than 140,000 Allies and over 250,000 Turks killed and wounded.
My grandfather served in the British Army, in the South Wales
My dad in Malta, 1941. He served in the British Army during the Siege of Malta, suffering the constant bombing and starvation along with the rest of the population. My mother worked at DeHavilland’s aircraft factory, building the Mosquito fighter bombers. I was in the generation who grew up with ‘the War’ a constant undercurrent in our household.
My dad’s father, William Jackson. He was a professional soldier and served in the South Wales Borderers from 1912 to 1919. He went through just about every major battle of the First World War, was mentioned in dispatches for bravery several times, and won the second highest medal, the DCM, at Gallipoli.
Borderers, but I now live in a country where the bravery and tragic losses of the Anzac forces (over 7,500 New Zealand deaths and casualties) are still remembered and annually commemorated. One day, that story should be told on film.
Of course, Peter Weir made a film in 1981 that was set in Gallipoli and starred Mel Gibson; but it was essentially an Australian
view of the conflict. In New Zealand, memories and stories of Gallipoli still hold such a potent place in the history of our country that they deserve to have a good movie made about them. It is not a project that I am pursuing at the moment, but, maybe, one day…
Peter Jackson may well, one day, make a war film – perhaps even one about Gallipoli…In 2003, wandering around Peter Jackson’s Stone Street studios, I came across an extensive scale model of a beach with rising hills. This might easily represent the tortuous terrain of ravines, spurs and ridges that confronted the Australian and New Zealand troops that landed at what is now known as Anzac Cove on 25 April 1915, and where, within the first day’s engagement with the Turks, one in five New Zealanders became casualties of war.
In the same building as the scale model of the beach, sculptors from Weta Workshop were carving the enormous wings, tails and assorted body parts that would eventually be assembled into the huge sculptures of the Nazgûl fell-beasts destined to decorate Wellington’s Embassy and Reading theatres for the premiere of The Return of the King: a reminder that J. R. R. Tolkien, himself a veteran of the Somme, had originally suggested that a suitable title for the third part of The Lord of the Rings would be ‘The War of the Ring’. So, in a sense, Peter Jackson has already made a war-movie, albeit set in the fantasy realm of Tolkien’s Middle-earth.
If and when Peter makes a film based on some twentieth-century wartime event (and it seems inconceivable that he won’t) it will simply be a fulfilment of an ambition that dates back to his debut film, made in 1971 – when he was 8 years old!
The first movie I ever made, which I acted in and directed, was shot on my parents’ Super 8 Movie Camera. I dug a trench in the back garden, made wooden guns and borrowed some old army uniforms from relatives. Then I enlisted the help of a couple of schoolmates and we ran around fighting and acting out this war-movie – or, more accurately, something out of a war-comic – full of action and high drama! In order to simulate gun-fire from my homemade machine-gun, I used a pin to poke holes through the celluloid – frame by frame – on to the barrel of the gun in order to create a burst of whiteness when the film was projected. My first special-effect – and without the aid of digital graphics!
Peter’s earliest recollection of going to the movies was a visit, several years before, to one of Wellington’s cinemas to see a film now long forgotten – and, frankly, deservedly so: Noddy in Toyland. Made in 1957, four years before Peter was born, it had obviously taken its time in reaching the cinemas of New Zealand!
Directed by MacLean Rogers, whose filmography of over eighty titles included many pictures featuring popular radio and musichall stars including the famous ‘The Goons’, Noddy in Toyland was simply a filmed performance of a musical play for children by Enid Blyton.
Based on Blyton’s popular children’s books about Noddy and his friend Big Ears, the author had constructed a rambling and tortuously complicated plot featuring, in addition to the denizens of Toyland,
I remember my childhood as being reasonably idyllic, with lots of family vacations in our Morris Minor. Although I was an only child, I was never lonely – we had a wonderful extended family of uncles, aunts and cousins, most of whom had followed the family migration to New Zealand.
characters from her other books, including The Magic Faraway Tree and Mr Pinkwhistle.
The photography was pedestrian, the stage business dull and laboured – especially without the enthusiastic audience of cheering kids that it do
ubtless enjoyed in theatres – and the only tenuous link between Noddy’s exploits and the films of Peter Jackson is an encounter with some ‘naughty goblins’ but who, in their baggy tights, were a far cry from the malevolent, scuttling creatures that swarm through the Mines of Moria. Nevertheless, to the young Peter, it was a remarkable film.
I was highly entertained by Noddy in Toyland; it was the first movie that I ever saw and, although I’ve never seen it since, I remember thinking it was pretty amazing!
Seeing a film when I was very young was a big event: we didn’t have a cinema in Pukerua so a trip to ‘the pictures’ meant a car or train journey into Wellington. My parents seldom took me into the city, so the occasional visits to the cinema were rare and special treats and the few films that I saw at this stage of my life tended to make a big impact on my youthful imagination – even if they really weren’t very good!
One such was Batman: The Movie, the 1966 spin-off of the high-camp TV series starring Adam West and Burt Ward, which I saw with my cousins, Alan and David Ruck. I remember being fascinated by the scenes where Bruce Wayne and Dick Grayson leapt on to the ‘bat-poles’ behind the secret panel in Wayne Manor in order to reach the Bat-cave. They started their descent wearing ‘civilian’ clothes but, by the time they’d reached the Bat-cave, they were miraculously kitted out in their Batman and Robin outfits.