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Geoff Murphy

Geoffrey Peter Murphy ONZM (12 October 1938 – 3 December 2018), known as Geoff Murphy, was a New Zealand film director, producer, and screenwriter renowned for his pioneering role in the 1970s renaissance of New Zealand cinema. Born in Wellington, Murphy emerged as a leading figure in the "new wave" of Kiwi filmmakers, blending action, comedy, and genre elements to create innovative local productions that captured international attention. His breakthrough came with the 1981 road movie Goodbye Pork Pie, which became the first blockbuster in modern New Zealand film history and a cultural touchstone for its depiction of youthful rebellion across the North Island. This success was followed by the historical drama Utu (1983), a gritty exploration of colonial conflicts and Māori resistance that highlighted his commitment to promoting indigenous narratives, and the acclaimed science-fiction thriller The Quiet Earth (1985), which earned critical praise for its existential themes and inventive storytelling. In the , Murphy transitioned to , directing high-profile action films such as (1990), (1992), and Under Siege 2: Dark Territory (1995), while also serving as second unit director on major productions including (1997) and Peter Jackson's trilogy. His career bridged independent filmmaking with global studio work, influencing the industry's growth and earning him the Officer of the (ONZM) in 2014 for services to film. Married to fellow filmmaker Merata Mita until her death in 2010, Murphy passed away in at age 80.

Early Life and Education

Upbringing in Wellington

Geoffrey Peter Murphy was born on 12 October 1938 in , . He grew up in the suburb of during his early years, in a family environment shaped by the modest circumstances typical of many post-war households. The family briefly relocated to as a child before returning to , where the working-class ethos of Catholic schooling influenced his formative experiences. Murphy attended St. primary school in the Kelburn area and later St. Patrick’s College in . These institutions, known for their emphasis on discipline and community, provided an environment where he began engaging with creative expression, laying the groundwork for his lifelong interest in . His upbringing occurred amid New Zealand's mid-20th-century social landscape, marked by post-war austerity that fostered resourcefulness and among families. This period of economic constraint and gradual cultural awakening contributed to an emerging sense of , influencing young Murphy's worldview through everyday narratives of resilience and local heritage.

Teaching Career and Initial Interests

After completing his teacher training at Wellington Teachers' College following a brief stint studying at Victoria University, Geoff Murphy began his professional career as a teacher in . He spent seven years teaching at Newtown School, where he focused on engaging young students through creative subjects like and , fostering their imaginative development in a hands-on classroom environment. Murphy's initial foray into creative expression emerged from these teaching experiences, particularly through group activities that honed his storytelling abilities. He wrote and directed an titled The Magic Hammer for his pupils at Newtown School, involving them in improvised narratives and collaborative performances that emphasized theatrical elements and narrative construction. This project not only built his skills in crafting engaging stories but also foreshadowed his later collaborative style, as it relied on participation and spontaneous among the group. His exposure to film came through a friendship with Derek Morton, a fellow creative in Wellington's arts scene, who attended one of Murphy's school performances of The Magic Hammer and encouraged him to adapt it into an experiment. Motivated by Morton's enthusiasm, Murphy began working on filming the operetta in the mid-1960s using basic equipment, though the project remained unfinished; this early endeavor ignited his lasting interest in visual storytelling as an extension of his teaching methods.

Entry into Filmmaking

Blerta Collective

The Blerta collective, short for the Bruno Lawrence Electric Revelation and Travelling Apparition (BLERTA), was founded in October 1971 in , , as a hippy-inspired musical and cooperative that emphasized communal living and creative experimentation. Led by drummer and performer Bruno Lawrence, the group embodied the countercultural spirit of the era, operating from a Waimarama and traveling in a psychedelic-painted bus with musicians, actors, filmmakers, and their families to foster improvisational performances. Geoff Murphy, who had recently left his teaching career to pursue collaborative arts, played a central role as a trumpeter, creator, director, and performer within Blerta, contributing to its multimedia blend of , , theater, and early film elements. Key members included on drums and vocals, alongside , , Martyn Sanderson, Corben Simpson, and others such as and Chris Seresin, forming a loose ensemble that prioritized spontaneity over rigid structure. From 1971 to 1973, Blerta toured extensively across New Zealand's North and South Islands, as well as Australia, staging chaotic, improvisational shows that fused energetic rock performances with satirical comedy skits and audience interaction, often at universities, parks, and theaters like Wellington's Downstage. These tours, including a notable 1972 North Island circuit and a 1973 Australian leg at venues like the University of New South Wales in Sydney, highlighted the group's nomadic, family-inclusive lifestyle and built a cult following through their raw, unpolished energy. A pivotal output of Blerta's collaborative ethos was the 75-minute experimental feature film Wild Man (1977), directed by Murphy and shot on a shoestring budget amid the West Coast's muddy terrains, capturing the troupe's signature chaotic style through tales of itinerant con men, silent-era pratfalls, and improvised communal antics starring , Watkin, and . This low-budget production, developed organically from the group's live shows, marked Murphy's debut as a and bridged Blerta's roots with his emerging filmmaking career.

Early Productions

Following his involvement with the Blerta collective, Geoff Murphy transitioned to directing independent short films in the early to mid-1970s, honing his skills in New Zealand's nascent film scene through low-budget, experimental projects. His earliest notable work, the 1970 television short Tank Busters, depicted a group of cash-strapped students plotting a heist on their university to fund exams and beer, blending comedic caper elements with a DIY ethos reflective of student filmmaking constraints. Shot on a shoestring budget using non-professional actors and basic equipment, the 31-minute film exemplified Murphy's initial forays into narrative humor, drawing from everyday Kiwi absurdities while navigating the era's limited production resources. By the mid-1970s, Murphy expanded into more ambitious shorts that experimented with narrative structure and cultural storytelling, often adapting myths or satirical sketches to test visual and pacing techniques. In 1974, he directed , a 37-minute television adaptation of the Māori legend involving the god Uenuku's affair with the mist maiden Hinepūkohurangi, emphasizing themes of love, betrayal, and redemption through a freewheeling, visually poetic style. This project, the first New Zealand television drama produced entirely in te reo Māori, marked one of Murphy's first engagements with indigenous narratives, filmed with minimal crew and local performers in natural settings to evoke the legend's ethereal quality, showcasing his growing command of atmospheric directing amid sparse funding. Collaborating with cinematographer Alun Bollinger, an emerging figure in New Zealand cinema, Murphy prioritized innovative shots over polished production values, fostering a grassroots approach that relied on personal networks rather than institutional support. Murphy's improvisational style, inherited from Blerta's live performance roots, permeated these works, particularly in scripting loose, character-driven scenarios that allowed for on-set spontaneity. This is evident in the 1977 short Dagg Day Afternoon, a 30-minute comedy co-directed with comedian John Clarke, featuring Clarke's iconic character on a mock mission to recover a government-lost "bionic sheep" through a series of satirical sketches. Produced on a tight budget with Blerta alumni like Bruno Lawrence contributing, the film experimented with episodic narrative breaks and rapid cuts, mirroring the collective's blend of music, theater, and film. These collaborations with fellow up-and-comers, including writer in early script consultations, built a tight-knit creative community in , where shared equipment and volunteer crews compensated for financial hurdles. Throughout these productions, Murphy grappled with the pre-renaissance challenges of New Zealand's film industry, where government funding was scarce and commercial distribution networks favored imports over local content. With no dedicated film commission until 1978, projects like and Dagg Day Afternoon depended on television slots from the NZBC for visibility, often shot guerrilla-style using borrowed gear and favors from sympathetic labs. This environment compelled innovative, resource-scarce methods—such as multi-role casting and in everyday sites—that not only cut costs but also infused Murphy's shorts with authentic, unpretentious energy, laying groundwork for his later feature breakthroughs.

New Zealand Film Career

Breakthrough with Goodbye Pork Pie

Geoff Murphy co-wrote and directed (1981), a comedic that follows three young characters—rebellious Gerry, heartbroken John, and hitchhiker Shirl—on a chaotic thousand-mile journey across in a stolen yellow . The screenplay, developed by Murphy alongside , drew from Murphy's prior experiences in experimental filmmaking with the Blerta collective, which provided foundational skills in low-budget production and improvisation. Shot on location throughout the country with a small crew of 24, the film was produced on a modest budget of NZ$450,000, emphasizing practical effects, natural landscapes, and grassroots distribution efforts led by Murphy himself. Released in February 1981, became New Zealand's first commercial blockbuster, selling approximately 600,000 tickets domestically and grossing over NZ$1 million at the , making it the first local feature to fully recoup its costs from the home market alone. The film also achieved international recognition, screening in the market at the 1980 and securing distribution in over 20 territories, which amplified its cultural footprint. The film's themes centered on youthful rebellion against authority, infused with irreverent humor and explorations of amid the social tensions of the Muldoon era, portraying escapist anti-heroes who become folk icons through their misadventures. Casting highlighted emerging New Zealand talent, with Kelly Johnson as the impulsive Gerry, as the everyman John, and as the feisty Shirl, supported by Bruno Lawrence and others in roles that captured the raw energy of local storytelling. Goodbye Pork Pie played a pivotal role in revitalizing the New Zealand film industry, demonstrating the commercial viability of homegrown narratives and prompting increased government support through the , which had been established in but saw bolstered funding and policy emphasis on local cinema in its wake. This success marked the onset of a in Kiwi filmmaking, inspiring greater investment in domestic productions and elevating Murphy as a key figure in proving that New Zealand stories could resonate both locally and globally.

Major Works: Utu and The Quiet Earth

Geoff Murphy's 1983 film Utu marked a significant shift toward more ambitious, genre-blending storytelling in cinema, directing a set in the aftermath of the Wars. The narrative centers on Te Wheke, a tracker for the colonial forces played by Anzac Wallace, who turns to revenge after witnessing the destruction of his village by British troops, leading to a involving settlers and fellow . Co-written by Murphy and Aberdein, the film was produced on one of the largest budgets for a feature at the time, estimated at NZ$1.2 million, and was shot in rugged terrains of the central North Island's bush and to evoke the era's harsh frontier. Utu holds profound cultural significance for its exploration of Māori-Pākehā relations and colonial legacies, drawing direct parallels to ongoing tensions in 1980s society. To ensure authenticity, the production incorporated input from Māori cultural advisors, including Joe , who guided aspects of language, customs, and historical representation during filming. The film received critical acclaim, including an out-of-competition screening at the and selection at the 1986 International Film Festival, while domestically it won multiple honors at the Film Awards, such as Best Director and Best Cinematography. Following the commercial success of , which provided financial stability for bolder projects, Murphy helmed in 1985, a low-budget thriller that further showcased his versatility in handling existential themes. Starring Bruno Lawrence as Dr. Zac Hobson, a who awakens to discover he may be the last human alive after a global energy experiment called catastrophically fails, the film unfolds as a psychological descent into isolation, with Hobson encountering two other survivors—an Australian woman (Alison Routledge) and a Māori man (Pete Smith)—amid the eerie emptiness of post-apocalyptic New Zealand. Produced for approximately $1 million, it relied on resourceful location shooting across urban and rural sites to convey desolation without elaborate sets. The Quiet Earth garnered international festival acclaim, premiering at the 1985 and earning Murphy Best Director awards at the 1986 Madrid and Film Festivals, where it also received a special jury prize for peace. Its cult status grew through distribution in over 80 countries, praised for blending with introspective drama. Both Utu and The Quiet Earth exemplify Murphy's stylistic evolution in the 1980s, emphasizing practical effects—like controlled explosions and minimalistic props for apocalyptic scenes—over costly , alongside immersive that integrated New Zealand's landscapes to heighten themes of , , and colonial dispossession. These works distinguished themselves through their grounded, empathetic portrayals of cultural and human fractures, solidifying Murphy's reputation for innovative, site-specific filmmaking.

Hollywood Ventures

Transition to the United States

Following the international acclaim of The Quiet Earth in 1985, which garnered attention at festivals and a cult following abroad, Geoff Murphy began exploring opportunities beyond New Zealand's constrained film industry. Frustrated by limited funding and production resources in New Zealand during the late 1980s, as well as a substantial $250,000 tax bill that threatened financial stability, Murphy relocated to Los Angeles in 1989 to pursue larger-scale projects and commercial viability. This move was also motivated by a personal desire to expand the global reach of New Zealand-inspired storytelling while providing better support for his family, including his second wife, the filmmaker Merata Mita, with whom he shared the relocation. Murphy's initial forays into Hollywood involved building a professional network through high-profile assignments, starting with his 1987 involvement on Predator, where he was hired on a pay-or-play deal worth US$150,000 to direct and contributed to script development alongside writers John and Jim Thomas at Twentieth Century Fox. Although he was ultimately fired from the project due to Arnold Schwarzenegger's director approval clause and replaced by , the experience connected him with key figures like producer and agent , laying groundwork for future work. From 1989 onward, he took on jobbing roles as a director-for-hire, focusing on action-oriented productions to establish credibility in the studio system. Adapting to proved challenging for Murphy, who transitioned from 's tight-knit, collaborative environment—rooted in collectives like Blerta—to the rigid hierarchies and scale of major studios. He encountered neurotic and paranoid executives who demanded constant reassurance, contrasting sharply with the creative autonomy he enjoyed at home, and navigated complex union regulations that governed everything from crew hours to equipment use on vast sets. These adjustments often left him feeling like a "hired hack" rather than a visionary, as the emphasis on commercial formulas overshadowed the personal, culturally nuanced narratives he had championed in .

Key Hollywood Films

Geoff Murphy's entry into Hollywood marked a shift toward large-scale productions, where he directed several action-oriented films amid the challenges of transitioning from independent New Zealand cinema to studio-driven projects. His first major studio effort was (1990), a sequel starring as , which followed the exploits of the outlaw gang in a fast-paced narrative blending historical drama with explosive action sequences. Produced by Morgan Creek Productions with a budget of approximately $20 million, the film grossed $44 million domestically, establishing Murphy as a capable handler of high-stakes ensemble casts and wide-open landscapes. Murphy's next project, (1992), ventured into territory, featuring Estevez as a race car driver whose body is targeted for a futuristic body-swap by a dying billionaire (played by ), exploring themes of immortality and corporate greed adapted from Robert Sheckley's novel Immortality, Inc.. With a $30 million budget, the film incorporated innovative visual effects for its aesthetic but underwent extensive reshoots costing an additional $3.5 million, as studio executives at Morgan Creek demanded more action and character development to align with mainstream genre expectations. Despite these efforts, Freejack earned only $17 million at the and received poor critical reception for its muddled plot and tonal inconsistencies, highlighting Murphy's struggles with creative control. In Under Siege 2: Dark Territory (1995), Murphy returned to action thriller territory, directing as a former thwarting terrorists who hijack a train to control a weapon, emphasizing high-tension set pieces aboard the moving . Budgeted at $60 million by Warner Bros., the film capitalized on Seagal's star power and the success of the original , achieving commercial success with over $104 million in worldwide grosses. Throughout these Hollywood ventures, Murphy navigated significant stylistic compromises, often clashing with studio demands that prioritized commercial formulas over his preferred narrative depth, including mandatory reshoots and executive interference that left him feeling his "spirit wasn’t in it really." He later described the as "soul-destroying," marked by the pressure of multimillion-dollar budgets where oversight intensified proportionally, forcing adaptations to conventions like amplified action at the expense of subtler elements from his earlier work.

Return and Later Career

Contributions to The Lord of the Rings

Geoff Murphy was hired as second unit director for all three films in Peter Jackson's trilogy (2001–2003), drawing on his Hollywood experience with action-heavy productions to handle sequences filmed in locations. His contributions included directing key action elements, such as battle scenes featuring Orcs and Uruk-hai in the for (2002), as well as big horse and stunt sequences involving like rigging and in-camera techniques. In (2003), he oversaw aerial and large-scale action shots, including charges across expansive terrains that highlighted New Zealand's diverse landscapes. Murphy collaborated closely with Jackson and the production crew, leveraging his expertise in New Zealand filmmaking to achieve epic scale on the trilogy's $281 million budget, often innovating with practical effects to enhance authenticity. His hands-on approach in remote locations like Twizel fostered a collaborative environment, where he guided teams through complex setups. These efforts helped position as a premier global filming hub, attracting international productions and boosting the local industry, while mentored emerging talent by emphasizing meticulous planning and belief in innovative, low-tech solutions amid high-stakes shoots.

Subsequent New Zealand Projects

Following his work on The Lord of the Rings trilogy, which served as a re-entry to the New Zealand industry, Geoff Murphy directed the 2004 conspiracy thriller Spooked. Written and helmed by Murphy, the film stars Cliff Curtis as journalist Mort Whitman, who uncovers a web of paranoia and deception after investigating the mysterious death of a man attempting to buy second-hand computers, drawing loose inspiration from the real-life 1992 Winebox Inquiry into financial scandals. Produced on a modest budget typical of post-2000 New Zealand features, Spooked emphasized intimate tension and local intrigue over spectacle, though it received mixed reviews and disappointed at the box office. Murphy then transitioned to television with the 2007 sitcom , directing all six episodes of the series centered on the daily chaos at a low-budget backpackers' in . The show follows an ensemble of young staff navigating traveler mishaps, romantic entanglements, and workplace scandals, with key performances from Vaughan Slinn as receptionist Zac and Ryan O'Kane, highlighting Murphy's adeptness at comedic timing and group dynamics in a constrained TV format. In 2009, Murphy completed Tales of Mystery and Imagination, an experimental adaptation blending Edgar Allan Poe's gothic short stories and poetry with live music performances. Featuring saxophonist Lucien Johnson's suite, the film integrates effects, fantastical visuals, interviews, and spoken-word narration to evoke Poe's themes of , , and the , created largely using home-cooked tools on an Apple computer. Selected for the International , it exemplified Murphy's late-career pivot to innovative, low-budget projects rooted in New Zealand's creative scene. These endeavors reflected a broader return to culturally specific narratives, albeit with the financial limitations of domestic production after Hollywood's larger scales.

Personal Life

Marriages and Family

Geoff Murphy's first marriage was to Pat Robins, a production manager who later worked with ; the couple wed in the early 1960s and remained together for 22 years, during which they had five sons. The marriage dissolved in the 1980s amid a long affair Murphy conducted with Diane Kearns, contributing to the end of his relationship with Robins. Following the dissolution of his first marriage, Murphy left Kearns and married the filmmaker Merata Mita in the early 1980s; the union produced one son, Heperi Mita, who later became a filmmaker. Murphy and Mita relocated to together in the late 1980s, but their marriage ended in divorce sometime thereafter. Murphy's third marriage was to Diane Kearns, with whom he reconciled after his separation from ; Kearns remained his wife until his in 2018. They had one daughter. Murphy's was marked by complexity due to his multiple marriages and the resulting blended family structure, which included seven children from his three marriages. This dynamic affected his children, as recounted by Heperi , who described growing up amid a household filled with filmmakers, actors, and crew, reflecting the overlap of Murphy's professional and family worlds. The infidelities and transitions between partners contributed to a tumultuous environment, with Murphy later acknowledging the challenges in his memoir A Life on Film.

Collaborations and Relationships

Geoff Murphy's professional collaborations were instrumental in shaping New Zealand cinema, particularly through his partnerships with filmmakers and artists that emphasized cultural authenticity and local storytelling. His long-term collaboration with Merata , a pioneering director and producer, began in the early 1980s and profoundly influenced his approach to representation. Mita served as a cultural adviser on Murphy's film Utu (1983), providing guidance on historical and cultural elements to ensure accurate portrayal of perspectives during the . She also acted in the film as the character Matu, contributing to its nuanced depiction of indigenous experiences. Their partnership extended to co-production roles, with Mita producing Murphy's Spooked (2004), where she helped integrate themes of corruption and drawn from real events. Additionally, Mita enlisted Murphy as associate producer for her feature (1988), in which he appeared as a racist farmer, allowing for mutual artistic exchange that bridged and viewpoints. This professional synergy overlapped briefly with their personal relationship as partners. Murphy also maintained enduring creative ties with key New Zealand actors, fostering a network of recurring talent that amplified Kiwi voices on screen. His collaboration with Bruno Lawrence spanned decades, starting in the experimental Blerta collective of the 1970s, where they co-created anarchic, communal films like Wild Man (1977) that captured the era's countercultural spirit. Lawrence starred in Murphy's breakthrough features, including Goodbye Pork Pie (1981), Utu (1983), and The Quiet Earth (1985), bringing a distinctive naturalistic intensity to roles that defined early New Zealand cinema's raw energy. Murphy later directed the documentary Blerta Revisited (2001), reflecting on their shared history and Lawrence's influence on improvisational performance styles. Similarly, Murphy worked with Māori actor Cliff Curtis in Spooked (2004), casting him as the lead investigator in a story inspired by the Winebox Inquiry, which highlighted Curtis's rising prominence and Murphy's commitment to showcasing diverse New Zealand talent. In his later career, Murphy played a mentorship role in nurturing emerging s and crew within New Zealand's , particularly during his time as second-unit director on Peter Jackson's trilogy (2001–2003). He guided young filmmakers on set, encouraging innovative problem-solving in large-scale action sequences like the Uruk-hai battles, and emphasized hands-on craft over reliance on effects. This experience helped build talent networks that extended beyond the production, as Murphy advocated for local artists to contribute ideas freely rather than imposing hierarchical control, a philosophy rooted in his Blerta days. Interpersonal dynamics in these relationships often involved frank creative tensions that drove mutual growth; for instance, Murphy's partnership with was marked by intense debates over representation and narrative authenticity, which enriched their joint projects despite personal strains. In the broader industry, his opinionated, inclusive style—evident in Blerta's chaotic collaborations—fostered influences that prioritized story integrity and communal input, even amid clashes with more conventional producers.

Awards and Legacy

Honors and Recognitions

In recognition of his extensive contributions to , Geoff Murphy received the Lifetime Achievement Award at the 2013 Rialto Channel New Zealand Film Awards, also known as the Moa Awards, honoring his pioneering work in directing films that defined the local industry. The following year, Murphy was appointed an Officer of the (ONZM) in the 2014 New Year's Honours list, specifically for his services to film, acknowledging his role in elevating New Zealand's presence on the international stage through innovative storytelling and production. In 2014, he was also awarded an honorary doctorate in literature by . Earlier in 2013, he was named one of the recipients of the Arts Foundation Icon Award by the Arts Foundation of , selected among five distinguished artists as part of a program celebrating living cultural icons for their lasting impact on the nation's artistic landscape. These honors, awarded primarily in his later career, reflected Murphy's foundational influence on filmmaking, building on earlier accolades such as his Best Director win for The Quiet Earth at the 1987 New Zealand Film and Television Awards.

Impact on New Zealand Cinema

Geoff Murphy played a pivotal role in the New Zealand film renaissance of the late 1970s and 1980s, pioneering commercially viable stories rooted in local culture and landscapes that challenged Hollywood dominance. His films, such as Goodbye Pork Pie (1981) and Utu (1983), demonstrated the potential for Kiwi narratives to achieve domestic box-office success and international attention, thereby influencing government funding models like those from the New Zealand Film Commission and fostering talent development among emerging directors. This era, often associated with Murphy and his collaborators known as "The Murphia," shifted the industry toward professional production standards and authentic depictions of New Zealand identity. Murphy's work significantly elevated Māori narratives within New Zealand cinema, particularly through Utu, which authentically portrayed the 1870s land wars from a Māori perspective and contributed to the broader Māori cultural renaissance of the 1980s and 1990s. His later involvement as second-unit director on Peter Jackson's The Lord of the Rings trilogy (2001–2003) further showcased 's stunning locations and skilled crew, helping establish the country as a premier global production destination and attracting international investment to the local industry. Murphy died on 3 December 2018 in Wellington at the age of 80 after a long illness. Prime Minister Jacinda Ardern paid public tribute, describing him as a "trailblazer" whose contributions to New Zealand's emerging film industry left an enduring legacy for all New Zealanders. In the years following his death, posthumous recognition included the Geoff Murphy Collection on NZ On Screen, a dedicated archive of 43 titles spanning his career that honors his foundational role in Kiwi filmmaking. Murphy's thematic focus on defiance, identity, and cultural authenticity continues to inspire modern filmmakers, influencing a generation to prioritize local stories amid global competition.

Complete Works

Feature Films

Murphy's first feature film as director was the experimental Wild Man (1977), a collaborative project emerging from the Blerta music and performance troupe. In 1981, he directed and co-wrote the road movie Goodbye Pork Pie. Murphy directed the historical drama Utu (1983), set during the . His 1985 The Quiet Earth marked another directorial effort, exploring themes of isolation and apocalypse. In 1988, he directed, wrote, and produced the action-comedy . Transitioning to Hollywood, Murphy directed the Western sequel (1990). He followed with the science fiction action film (1992), starring and . In 1993, he directed the HBO television thriller , starring and . That same year, he directed the HBO Western , starring . In 1995, Murphy directed the action thriller Under Siege 2: Dark Territory, the sequel to the 1992 hit. In 2000, Murphy directed the science fiction action film Fortress 2: Re-Entry, starring Christopher Lambert. Returning to New Zealand, his final feature as director was the conspiracy thriller Spooked (2004).

Television and Other Contributions

In addition to his feature films, Geoff Murphy made significant contributions to New Zealand television and short-form media throughout his career, beginning with experimental works in the early 1970s that helped establish his reputation in local production. His early directing credits include the 1970 short film Tank Busters, a comedic heist story about university students attempting to rob a safe, which he also produced. In 1974, he directed the television short Uenuku, a 37-minute drama, and the children's series Percy the Policeman, for which he also wrote episodes. By the mid-1970s, Murphy co-directed and co-wrote the 30-minute short Dagg Day Afternoon (1977), a satirical piece tied to the Blerta comedy troupe, and contributed to the television series Blerta (1976), where he served as director and writer for multiple sketches blending music, comedy, and improvisation. These projects showcased his versatile style, often incorporating humor and social commentary, and laid the groundwork for his later narrative features. Murphy's television directing extended into the 2000s with the sitcom Welcome to Paradise (2007), where he helmed several episodes, including the pilot "," focusing on the chaotic lives of backpacker hostel workers. This 13-episode series highlighted his ability to handle ensemble casts and light-hearted ensemble dynamics in a television format. Earlier in his international phase, he directed the Red King, White Knight (1989), a thriller starring . In 2000, he directed the Race Against Time, a thriller starring . and episodes of the Western series (1998). Additionally, Murphy took on writing roles for television, notably contributing scripts to Blerta and Percy the Policeman. A notable aspect of Murphy's later career involved second-unit direction on high-profile productions, particularly Peter Jackson's trilogy. He served as second-unit director for (2001), (2002), and (2003), overseeing action sequences and location shoots that enhanced the films' epic scale while drawing on his expertise in landscapes. This role allowed him to mentor emerging filmmakers and integrate his action-oriented style into one of cinema's most ambitious franchises. Murphy also appeared in minor acting roles in television, such as portraying Geoff Kane in the episode "Early Days" of the historical series The Longest Winter (1974) and as a player in the documentary Three : (1977). Toward the end of his career, he explored experimental formats with Tales of Mystery and Imagination (2009), a adaptation of Edgar Allan Poe's stories combining film, music, and , which he directed in collaboration with composer Lucien Johnson. These diverse contributions underscored Murphy's influence beyond features, bridging television, shorts, and supporting roles in both local and global projects.

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