How I Make It Work: Poet, Film-Maker & Theatre Producer Mīria George

With a new short film in the works and a new production, Ngā Rorirori, touring Aotearoa from September 12, multi-hyphenate Mīria George talks about what inspires her, how she finds balance, and shares her best advice.

Two decades since her award-winning theatre debut, multi-talented Mīria George (Te Arawa, Ngāti Awa, Tumutevarovaro, Enuamanu) is preparing her next short film and a new stage production.

“I am a writer who produces and directs,” she explains succinctly when asked the old “what do you do?” question. “I’ve worked in theatre for the last 20 years and over the last seven years I’ve been working in film and the digital space too.”

She co-founded Tawata Productions in 2004 with her partner, playwright and director Hone Kouka (Ngāti Porou, Ngāti Raukawa, Ngāti Kahungunu). The Wellington-based creative company — which platforms the work of Māori and Pasifika creatives — is marking its 20-year anniversary with a new play by Hone, Ngā Rorirori, touring Te Whanganui-a-Tara, Tāmaki Makaurau, Tairāwhiti and Ōtautahi.

A story of “greed masquerading as aroha”, Mīria explains the play’s title translates to “the idiots” or “fools” and the comedic story of whānau and whenua sees siblings Manuela and Pillow Rorirori taking on the “Department of Whenua, Whakapapa and Whatever”.

It’s not the only thing she’s been working on this year. Mīria was part of the jury for Māori and Pasifika Shorts at the Whānau Mārama New Zealand International Film Festival, and she’s working on one of her own, currently finishing up her new short film Open Looks — an “Indigenous sci-fi” about three sisters and their shared love of basketball.

“The sudden death of the eldest sister, takes the younger two to Havaiki Nui,” she explains. “They’re forced to play ball to return to the world of light.”

It’s a labour of love for her and Hone, an acclaimed playwright. The two are regular collaborators, also establishing the acclaimed Kia Mau Festival, a biennial arts event and performance platform.

Mīria studied film and theatre at Victoria University, earned her Masters in Scriptwriting from the International Institute of Modern Letters; in 2016 she was awarded the Fulbright-Creative New Zealand Pacific Writer in Residence at University of Hawai’i, and received the Bruce Mason Playwriting Prize in 2017.

“As a kid, I grew up writing. I had a bona fide creative practice,” she explains. “I started writing at 8 years old. Mum introduced me to theatre. Dad and my stepmum, both visual artists, encouraged me to keep writing — understand that it is a continuum. And so I did.”

Her first stage production, the award-winning Oho Ake, debuted in Wellington in 2004.

A collection of poetry, The Wet Season, her debut, was published the following year.

Her 2006 play and what remains wondered “if Māori left the country, would you even care?” wrote Pantograph Punch’s Adam Goodall, who praised Mīria as “a new voice, fierce and visionary, unsparing in her political expression”.

Stepping from the stage to screen in 2019, Mīria was among eight directors involved in historic release Vai. The first feature to be written, directed and produced by Pacific women, and Mīria’s film debut, it presented a tapestry of tales, shot in Fiji, Tonga, Samoa, Solomon Islands, Kuki Airani (Cook Islands), Niue and Aotearoa, and screened at the Berlin Film Festival and NZIFF.

Her short film Fire in the Water, Fire in the Sky followed, was selected for the Edinburgh International Film Festival in 2022; a web series, Big Hair, Don’t Care, was released that year too.

Add to that a recent stint in Canada, a Banff Film Residency, and it’s quite a list. With 20 years of work behind her, does anything stand out as significant?

“I couldn’t name a singular work — every production is a triumph regardless of its singularity or scale. It’s the feeling the work evoked in those who were part of the creation process,” she explains, and the feeling of those who were in the audience. “That is the significance of all of the work that I have produced.”

How does she feel about her work?

The most exciting part of what Mīria does is when imagination becomes reality. “Literally,” she says. “In theatre and film, when your characters, their stories and the greatest of journeys can unfold before you. It’s also exciting and never ever becomes dull.”

Inspiration is something she finds in the world around her. “Through the joy and the struggle of those that I love, and of those whose world’s relate and resonate with my own,” Mīria says. “Experiencing and witnessing the unjust policies of governments, and the ongoing colonisation of indigenous people in Aotearoa, throughout the Te Moana-nui-a-Kiva and around the world.”

The most surprising part of the job is, funnily enough, when things actually turn out smoothly. “The reality of live performance as an artform is that it is so deeply human that really nothing goes to plan.”

Though a project may start with one person and the spark of an idea, theatre and film hinge on collective skill.

“Trust your collaborators, your colleagues and the process. Don’t work with those that you don’t trust,” she advises anyone wanting to get into the same field. “You have to practise — without practice there is no creativity.”

What does a standard day look like?

Currently living and working between Rotorua-nui-a-Kahumatamomoe and Te Whanganui-a-Tara, there are no normal days for Mīria.

“Although there are many normal collaborations and conversations,” she says. “With designers, producers, DOPs [directors of photography], sound designers, composers, actors, venue managers. Normal conversations are about characters, narratives, lighting, music, dialogue. That’s what a normal day can entail for me.”

As a creative working across different mediums in what can be gruelling industries, how does she maintain some balance? “Breathe deeply. And then drink more coffee.”

Even when not working she’s still creating. “I’ve returned to drawing — pencil on paper,” she says. “It reminds me of drawing as a kid back in the ‘80s, with my older brother and sister and older cousins too.” They would spend all day drawing, painting and making things under the watchful eye of her father.

That artistic energy is what keeps her moving forward. “My goal is to be creative and keep making until my last breath.”

Mīria George’s favourite things

My favourite contemporary film is … We Were Dangerous by director Josephine Stewart-Te Whiu.

My favourite old film is … Alien from director Ridley Scott.

A film that had a big impact on my was … Mataku, created by Carey Carter and Brad Haami and screened in the early 2000s. It was groundbreaking — a compelling Māori horror series with high production values. I was studying film and theatre at the time and was seriously inspired by the series.

A series I rewatch regularly is … The Wire.

The media I enjoy is … Pencils, paper, or better yet notebooks. These are a simple and joyful technology.

My favourite book is … Decolonizing Methodologies by Linda Tuhiwai-Smith. This book is a wonderful tool for understanding Aotearoa New Zealand today, and unpacking the imperialist agenda that utilises colonisation as a weapon to dismantle Indigenous societies and belief systems. Highly recommended.

A TV show I love at the moment is … Stranger Things for its horror and nostalgia.

Something I’m currently enjoying is … The second season of Takeout Kids by Julie Zhu.

An interesting person I follow on Instagram is … Bisan Owda, a Palestinian film-maker, journalist and basketballer.

My favourite album is … Recollections (2022 Remaster) by Miles Davis.

While I’m working … Lately I’ve been listening to Karnan Saba, Miles Davis, Nina Simone, Gil Scott-Heron and Iti Bubbas.

An artist who inspires me is … Hone Kouka — for a lifetime committed to creativity.

My favourite time of the day is … Morning. It’s another chance to try again.

The most special place in my home town is … Te Horohoroinga-o-ngā-ringa-o-Kahumatamomoe. My mountain is the greatest in the world.

My favourite café is … Emporio on Abel Smith St — akin to a garage on the side of the road off upper Cuba St because it’s a handy escape from our offices with the strongest of coffee.

My favourite place in Aotearoa is … Horohoro — home.

Travel plans … In 2025, my little sister and I are reverse migrating home to Ra’iātea, Tahiti, to our Wichman family.

The international city with the best buildings is … Rarotonga, Tumutevarovaro, the buildings tell the story of the people of the land and then the arrival of the colonialists, settlers and missionaries and foreign governments. They’re humble yes; some are falling down; some are no more than lean-tos; others, families are trying to hold them together — but they’re still part of a story.

The most cinematic in the world is … The village of Aka’oa, Tumutevarovaro. Our village in the Cook Islands because of its simplicity and ingenuity.

A piece of clothing I bought recently is … My orange crewneck marking 20 years of Tawata Productions.

Beauty products I love are … Sunblock and Mono’i Oil.

I wear jewellery .... Always. That which is handmade — my favourites are made by my dad.

My favourite place to walk is … Te Whanganui-a-Tara, Wellington. I love walking the city — windy, wild, creative village battling still for its own independence.

An event I’m looking forward to is … Kōanga Festival at Te Pou Theatre — it’s where we will be presenting Ngā Rorirori for the very first time.

What’s exciting me right now is … Our girl Maarire, also known as MĀ — an artist in her own right and deep in her own creative practice. So proud of her.

Ngā Rorirori is on from September 12-14 at Te Whaea, Wellington), September 19-22 at Kōanga Festival, Te Pou Theatre, Auckland, September 25 at Gisborne War Memorial Theatre, and October 4 at WHAO Festival, Aurora Centre, Christchurch.

Emma Gleason is the Herald’s deputy editor of lifestyle and entertainment (audience), and has worked on Viva for more than four years, contributing stories on culture, fashion and what’s going on in Auckland.

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