New York state of mind

UNO catches up with local film director James Ashcroft in New York to discuss his new thriller, the demons driving his films, working with Robert De Niro and Stephen King, and how he achieved all of this from the shores of Mount Maunganui.

words KARL PUSCHMANN
photos MIKE ROOKE | hair + make-up TALITHA DAENG SITUJU

This sounds made up but it is entirely true. A local film director who lives in Mount Maunganui has just released his second film, The Rule of Jenny Pen. The terrifying psychological thriller stars internationally renowned actors, Geoffrey Rush and John Lithgow.

When UNO calls, the director is in Manhattan, New York, in pre-production for his next movie, The Whisper Man, which he is making for Netflix. The star of this dark thriller? Acting legend Robert De Niro.

Once wrapped on that, he’ll begin work on his next project, Danny Coughlin’s Bad Dream. This is based on a story by famed horror author Stephen King, who kept the fan favourite story aside specifically for him.

As I said, it sounds made up. Rush, Lithgow, De Niro, King... they’re all bonafide legends and the guy linking them all together lives just down the road? Really?

It sounds not just improbable, but impossible, and when I ask director James Ashcroft if he ever has to pinch himself when thinking about all this. He looks a little perturbed and answers, “No. I don't.”

He pauses and looks around the Manhattan apartment he’s calling home for the next little while and then adds, “My wife would be the first one to say I should try just... you know... celebrating a bit and acknowledging who I’m around and everything.”

At the moment he doesn’t have time to stop and smell the roses. Given the level of achievement we’re talking about here, it should come as no surprise that James funnels extraordinary amounts of his time, energy and focus into his work. But, as I’ll discover through our chat, this is by design. Keeping busy keeps his own demons at bay. We’ll get to them in a minute. But for now, I only want to know one thing.

How did all of this happen? The Rule of Jenny Pen is based on a short story by Aotearoa author Owen Marshall. It’s set in a retirement village that outwardly seems lovely but hides a dark and disturbing secret after dark. Its premise is frightening and its realisation by leads Rush and Lithgow is both believable and brilliantly horrifying.

The movie is James’ follow-up to 2021’s Coming Home in the Dark, the acclaimed thriller that caught Hollywood’s attention after gaining buzz at Sundance, the prestigious tastemaker film festival.

When success came knocking, James was prepared to answer. The script for Jenny Pen had been sitting in his desk drawer for 11 years. He seized the moment and approached his dream leads for the movie. He knew he had a great story and a great script. He knew they’d both be amazing in the roles. He knew he was asking them to temporarily relocate to New Zealand for filming and to take a substantial pay cut.

He asked them anyway.

“My father was somebody who was very much about, ‘You can't know, unless you find out,” he says. “It was really important for me to have them [in the film]. I grew up watching them. I had to disguise my fanboy-ness for a long time. I‘m not sure if I‘ve even revealed it to them.”

To his delight — and surprise — the pair were quick to sign on. Rush agreed in four days. Lithgow made James sweat by taking seven.

“The material really frightened him,” James admits. “It‘s quite confronting. John is one of the nicest human beings on the planet and the part required him to do a number of things that are less than savoury.”

But once Lithgow was in, he was all in. His performance in the film is menacingly unsettling. Made even more so by his delivery of one of the finest, mostly accurate, Kiwi accents ever captured on film.

“I‘m seeing John next week so I‘ll pass that on to him. He’ll be very gratified to hear that,” James grins. “It’s very hard to get right and we were all aware of its difficulty.

Many fine actors have stood at the base of the Everest-type challenge of that accent... But John was very committed. I would notice him talking to different people, like an extra or a caterer, and if he liked their accent or their range and tone, he’d ask them to say certain words that he would listen to and practice and try and master it that way.”

That James was so interested in the process isn’t surprising when you learn he began his career as an actor, appearing in TV shows and films. His acting love, however, was the theater. But, as he tells me, “It‘s incredibly hard to sustain a viable living as an actor in New Zealand. It's near impossible”.

It was at cast drinks after performing in a middling play to a disinterested audience that he had a revelation.

“We’d gone down to the bar to bitch and moan about how the director doesn‘t know what they‘re doing, and how the theatre should do this and that. And I thought, ‘If I don't change something I‘m going to be leaning on this bar with a bunch of moaning actors in 20 years singing the same old song’. It was a case of going, ‘You need to do something about that, James’.”

It was then he decided to move behind the scenes. Directing, he realised, would use all his talents. It’s a job that requires concentration, collaboration, managing relationships and steering a ship towards a singular vision.

“I would find it very frustrating that all those decisions were made by somebody else,” he says. “Part of me was unfulfilled. I wanted to be the boss. I‘m interested in the big picture.

I love working with people who are great at what they do and leading them together in a cohesive way that brings about the whole.”

“I thought I was going to find stepping away from acting very, very hard,” he says. “But since getting behind the camera, I‘ve been more curious and more passionate about the craft of acting. And I enjoy actors a lot more.”

He sheepishly admits to being a “very competitive actor,” back in the day. Someone once likened him to the “John McEnroe of actors,” telling him, “You can give a really good game, but it‘s not always pleasant to be around.”

“I think they meant it as a compliment,” he chuckles. “I‘m not sure...”

James and Geoffrey Rush on the set of The Rule of Jenny Penn.

When UNO Zooms in for our interview James had only been in New York for a few days.

“I‘m missing my family terribly,” he says. “I burst into tears when I arrived in Manhattan last Saturday, because it really hit me; ‘Oh my God, I'm going to be gone for nine months’.”

The plus side that he’s identified is that he’ll be “cocooned in the work,” his removal from his normal everyday life forcing him, “to live it and breathe it in another way.”

The New York air is very different to the sea-salted breeze of the Mount. He and his family moved here from Wellington 10 years ago and have now “put down very deep roots,” in the area.

“It was a very big change of scenery and took a long time to get used to,” he says. “I moved from running the National Theatre Company to wanting to pursue that goal of film. My wife and I, we had two kids at the time, we've got three now, we were going, ‘What else are we wanting from life?’.”

Along with giving film his best shot, James realised he also wanted to be a stay-at-home parent.

“I didn’t want to miss out on that time with my girls,” he smiles, thinking of his three daughters, who are aged seven, 11 and 13. “It’s a great place to raise a family.”

Then, he laughs and says, “But I’m still the most uptight person on the beach.”

James sees the world in grey. It’s where his fascination as a filmmaker lies. In his view, the world isn’t black or white. The material he’s drawn to reflects this.

“I don’t believe in good and bad people. I believe in good and bad actions or intentions. As human beings, we all have those within ourselves. It’s something that we grapple with throughout our lives,” he says.

Working in the creative industries, first an actor, now as a director, that darkness is never far away. Whether auditioning for a part or pitching a film project, James says the industry has a “99 percent rejection” rate.

While things are going swimmingly now, he’s definitely not relaxing or coasting, saying “you’re only as good as your last job. And the next job won’t necessarily come”.

He tries not to dwell on these things. Instead, choosing to pour his energy into making things happen for himself.

“I don’t want to wait. It’s important to me to develop and create things in the way in which myself and my peers want to. How do you get Geoffrey Rush and John Lithgow in your movie? You give them a script you think they will respond to. You go, ‘I think you might be interested in this strange little story I want to tell that I want to tell in this way’.”

He pauses a beat, then says, “They’re definitely not going to be in it, if you don't ask them.”

The work keeps him too busy for his hang-ups. The failed pitches. The rejections. The worry. The anxiety. These haven’t been conquered. But they have been successfully minimised. He refers to them as “distractions,” attempting to thwart his goals.

“I don’t think I’ve overcome them at all. They’re always there. I’m not worried about Robert De Niro being the lead in the new film that I’m directing. I don’t have time to worry or be anxious about working with Bob. What I have to be clear about is; What are the objectives and actions that I’m going to give to him? What are the questions he might have? That makes it all about the work. It’s when I'm not working that those doubts start to creep in and become distractions.”

“Late in life I found weightlifting. It helps keep it steady and keep that boiling of anxiety that can come up at times under control. Having that level of fitness and health in my daily routine helps and has really been good at keeping that volume down and manageable. Because it’s always going to be there. Everyone has it. It’s not something to fix or dispel. You've got this much space inside. If I’m going to fill it up with work, then there’s very little space for all that unhealthy noise to exist. That’s why I have seven or eight projects on the boil at different stages at the moment. I find that incredibly energising to move around and helpful to quell those professional anxieties and things like that.”

James’ love of genre was instilled at an early age. His dad would occasionally let him stay up late to watch the Sunday Night Horrors on TV. But he became truly fascinated with the possibilities of darker storytelling at age 10 when his cousin, who was babysitting, put on David Lynch’s surreally unsettling masterpiece Blue Velvet.

“Blue Velvet is not a film that a 10 year old should watch,” James admits. “But it definitely made a very big impact on me. I wouldn’t say it was traumatising or anything like that. A lot of it went over my head. But the images and the feeling of it was something that I hadn’t been exposed to. It had a huge impact on me.”

From there he began reading horror literature, like Dracula, before finding, and devouring, the work of horror maestro Stephen King. His journey to the dark side was complete. After the success of Coming Home in the Dark, James wasn’t going to sit around and wait for people to come to him. He’d been picked up at a big Hollywood agency and so he decided to work his contacts. “Whatʼs the worst thing that Stephen King can do if you send him a letter? Not reply.”

The next day he went book shopping. Naturally, he had made his way to the horror section when his phone buzzed with a notification. He looked at the screen and saw it was from ‘S. King’. “I didn't connect the dots. I thought it must be, you know, Samuel King or Sarah King,” he says, thinking back. He opened the message and started reading.

“I was like, ‘Holy shit! This is from Stephen King!” he laughs. “He’d written this incredibly wonderful, complimentary email. It was like, ‘Wow’. It was a surreal moment. I was literally standing right in front of his books.”

Then, with a mixture somewhere between joy and astonishment, James Ashcroft says, “I was slightly floaty for the whole night after that,” and then we say our goodbyes and he resumes working on his Robert De Niro film in his apartment in Manhattan.

A bold return

Always underpinned by excellence, the Sandersons are redefining
luxury retirement living with a project set to impress.

words NICKY ADAMS | photo ALAN GIBSON

Fraser and Donna Sanderson.

With a life’s work spanning 38 years developing in the luxury retirement and care home facility sector, Fraser Sanderson made front page news in 2019 when he sold off three of his retirement villages, at the time quoted as saying he was going to ‘give retirement a go’. Clearly ticky-touring about in his campervan didn’t cut the mustard because roll on a few years and Fraser has returned, and returned with style. The project that has brought him back to the fray is the most exciting and prestigious one of his career, The Pitau in Mount Maunganui.

As the face of the Sanderson Group – family owned and operated nationwide with a portfolio of diverse developments under its umbrella – Fraser is well known to be an astute businessman, but one who holds the values of honesty, loyalty and family at the heart of it all. His children all have exciting ventures underway themselves in the retirement and development sectors and are excited by this latest turn of events; wife Donna is equally supportive, understanding that The Pitau is very much Fraser’s passion project. A concept too compelling to resist, the luxury and magnitude make it groundbreaking in New Zealand, and even on an international scale it would be considered trailblazing.

Fraser is no mere figurehead. His involvement has always, and continues to be, more than just in name only; a driving force from the ground upwards, he notoriously dives into every single aspect of a development. From overseeing the selection of the Travetine cladding of The Pitau or obsessing over the correct placement of the cabling in the building’s basement, Fraser prides himself on being a part of every feasible decision. He is lauded for his meticulous attention to detail, as well as the speed with which he ensures everything is executed. A friend of mine once sat next to Mick Jagger at a cricket game, and said she could feel the energy fizzing from him for every second of the match. Fraser has the same kind of sizzle – always on the move, it’s hard to even get him to sit down for an interview.

When Fraser does sit down, he is reluctant to wax lyrical about his achievements, but it’s hard to deny his significant impact on, and shaping of, the luxury retirement sector. I wonder which aspect of his legacy he is most proud of, to which he replies: “For me, it’s having been instrumental in raising the bar for luxury retirement living, and creating spaces where people can enjoy the highest standards of comfort, service and lifestyle. It’s all been about giving people the freedom to truly live well.” I comment he already has such a peg in the ground, so it’s intriguing as to what exactly it was about the concept of The Pitau that tempted him out of his brief retirement. He tells me: “It was really the opportunity to push the boundaries of what a luxury retirement village can be. I knew it would be something extraordinary in both design and lifestyle.”

Was it, I wonder, an idea that had been bubbling away for years, or was it simply circumstantial as the location presented itself? “I’ve always believed that people who have worked hard their whole lives deserve something truly exceptional. When this prime location became available, it was the perfect opportunity to create something that sets a new benchmark for luxury and excellence. Now, people who never would have considered a traditional retirement village are considering The Pitau”.

While The Pitau is an ambitious and prestigious venture, it is not out of character for Fraser to be ‘thinking big’. His visionary approach was apparent from the start when he embarked upon his first retirement village in Ōmokoroa, bucking the trend of the time when it was believed that retirement living needed to be centrally located. Conversely, when he did go into the city, he initiated industry change by developing at height in the Avenues. Taking his ‘out-of-the-box’ approach to Queenstown, he spearheaded development on Ladies Mile where he established a country club and built a hospital. Fraser’s trademark is rolling out projects that present with challenges. Over the years his undertakings have been diverse – from retirement villages and residential subdivisions, to specialist medical facilities, and hospitality to retail – however, the common thread is the uncompromising commitment to quality that remains steadfast. Fraser firmly believes that quality pays dividends in the long-term, and for him there is no budging on delivering the highest calibre product.

There seems to be a genuine passion for helping people in the retirement space. A question Fraser says he asks himself about every undertaking is, “Is this somewhere we want to spend our twilight years, or, is this a place we want our children to spend their formative years?” It’s clear an impetus for Fraser is creating an environment where people who have worked hard their whole lives can relax and enjoy the next phase.

With retirement villages now offering resort-like facilities, I imagine the concept is very different from how it was 40 years ago. Has there been a shift, I wonder, on when people feel ready to move to the ‘golden years’ of relaxation? “Absolutely. It’s no longer about slowing down – it’s about upgrading your lifestyle. People are moving in earlier, not because they have to, but because they want to enjoy everything a luxury community has to offer while they’re active and independent. It’s a shift from necessity to choice.”

Despite the allure of the wonderful quality of surroundings, luxurious facilities and stunning landscaping that all make up the core of any project under the Sanderson Group, Fraser still must come across many people who just aren’t sure if this next step is the right one for them. What, I wonder, would he say to people who are teetering on the edge of the unknown next stage? “I’d say, don’t wait until you have to move - move while you can truly enjoy it. This isn’t about giving anything up; it’s about gaining more – more freedom, more connection and more time to focus on what really matters. The sooner you step into this next phase, the more rewarding it becomes.” And with that, it’s beginning to feel as though there’s no such thing as too soon.

Introducing

The Pitau

Mount Maunganui’s five-star lifestyle retirement
offering promises uncompromising luxury.

words NICKY ADAMS | photos SUPPLIED

A welcoming and cosy guest lobby space.

When Fraser backtracked on his well-deserved retirement plan, it was because he couldn’t pass on the opportunity to create something totally unique. The Pitau was born of a desire to take luxury to new heights – quite literally.

A unique multi-level triple tower design, the outlook across the mesmerising beauty of the twinkling Pacific Ocean naturally is spectacular. But plonking an architectural wonder in a stunning location and simply signing off is not Fraser’s style. For him the devil is in the detail; the layout of the building has been designed to maximise both sunlight and views, the high room stud, thoughtful indoor/outdoor flow and optimised privacy all tie together seamlessly. The architectural mastery is apparent; curved edges and the neutral palette leans to an elevated aesthetic combining form and function. Investing in exceptional landscaping is part of the charm of Sanderson Group developments, so it’s no surprise to see the balcony edges are green planted – softening the form of the building and factoring in the need for foliage.

While the architecture is exceptional, both the exterior (which incidentally is clad in beautiful Travertine tiles imported from Turkey) and interiors are a work of art. It’s obvious that no expense has been spared to create homes that Fraser and Donna would want to – and be proud to - live in themselves; so it stands to reason that they have already earmarked an apartment for their own ‘golden years’. The apartments themselves vary in size and configuration, and the inclusion of a dedicated care facility with Memory Care and hospital-level care suites ensure that future additional medical needs can be met. It's hard not to get excited when you look through the spec – which in many ways feels more as though you’re flicking through the details of the most exclusive five-star-plus resort. Tasteful opulence at every turn you might say.

Then there are the lifestyle opportunities. If you’ve ever been through a Sanderson Group retirement village, you’ll be aware that the facilities are the lynchpin of luxury living, and The Pitau takes this premise to a whole new level. The facilities alone will make most people – myself included – stop in their tracks. There is, frankly, what feels like acres of premium amenity space; all created with the understanding that, firstly, the residents will be in their prime ‘post work’ years, and secondly, life within the building as a whole should feel like a continuation of the luxury of their apartment living. A massive swimming pool, expansive high-tech gym, yoga studio, sauna and spa will all be part of the active offerings.

Luxurious penthouse bedroom in the Rockpools interior scheme.

If you want time out, then there is a boutique cinema and library; if you feel like pampering, then head to the salon. If a billiards room sounds appealing, then take a breath and visit the Wine and Whisky Bar; oh and of course there are multiple café and restaurant areas.

This is not a traditional retirement plan, instead it is a five-star lifestyle offering – and it is here that The Pitau is elevated into a league of its own. Managing to be swanky without crossing the line to ostentatious, there is a huge main lobby area that opens into an internal courtyard, complete with water feature and reflection pond for just the right amount of Zen. A resident concierge service is available, because this really is a time of life when you deserve to delegate your life admin, and even better, there’s a chauffeur service on hand to whizz guests to the Golf Course, the airport or just to run errands. Those that like a little more independence can dip into the complimentary fleet of e-vehicles or borrow an e-bike if they have had one too many at the Whisky Bar.

A striking architectural view from Pitau Road.

Operating at a unique level unseen in New Zealand, The Pitau brings an international flavour. Many aspects were the result of endless research into what was missing from the premium retirement sector, not just in New Zealand, but globally. It’s fair to say that this concept will be market leading on completion. There really couldn’t be a more perfect location than the Mount. As Kiwis, we flock here, and it’s well known internationally as an incredible coastal location.

Naturally this level of living comes at a price, and with this, intended residents are putting a huge amount of trust into the Sanderson Group. A proven track record goes a long way, and additional reassurance is provided by the way the Group operates. Unusually for this type of development, the Sanderson Group controls all the main aspects of the build, with an internal team in place for everything from the architects to the civil earthworks and internal joinery. By acting as the main contractor, Fraser and his team are afforded greater control over quality and delivery.

This really does back up the realisation that nothing is accidental with Fraser. The Sanderson Group is based around the premise of delivering on the promise of uncompromising luxury, quality and good living.

Every single aspect of any development undertaken has been considered in micro detail, so the perception of unparalleled comfort is not just an illusion, the evidence is there to back it up. As Fraser said, when it comes to this type of lifestyle change “People are moving in, not because they have to, but because they want to.”

Completion dates:

Tower 1 – December 2026

Tower 2 – December 2028

Tower 3 (Care) – December 2029

To view, visit:

227 Maunganui Road

Mount Maunganui

Bay of Plenty

THEPITAU.CO.NZ