Uploaded July 2020 | Updated September 2026, 1 week ago
Paddy Grant was a 27-year-old truck driver when he rocked up to Christchurch’s Hagley High School, as it was then known.
It was 1974, the city had just hosted the Commonwealth Games, and Grant was about to make history of his own by enrolling as Hagley’s first adult student and, according to school staff, the first in New Zealand.
Grant, who appears in Frank Film’s Changing South episode on Hagley College, says at the time he was in a job he hated. “I was also a dad - a very proud one - and I felt like I needed a different life.”
He wanted to attend the University of Otago’s medical school but needed a secondary school bursary qualification. Hagley’s principal at the time, Ian Leggat, encouraged Grant’s enrolment, with a few stipulations.
“It was taken I would not be wearing a uniform,” recalls Grant, “and that I could go to the staffroom to smoke a cigarette.”
Today, around 250 learners aged 19 and over study alongside high school-age students.
Current Principal, Mike Fowler, proudly states Hagley has “always been outside the square.”
It’s also one of the most ethnically diverse secondary schools in New Zealand.
Hagley has Ministry of Education ‘Designated Character’ status, awarded to schools which offer unique programmes and courses not available in other schools.
Each year, hundreds of senior students migrate from other high schools to Hagley to complete their secondary schooling. Some of these students have exhausted their education options and Rowan Milburn admits Hagley has been regarded as a place of last resort.
Principal Fowler says for those “who’ve had mixed experiences at previous schools or previous learning, if anything’s going to work for them it’s this place.”
A sentiment supported by a student in Hagley’s Catch-Up College. “If I have any friends that are giving up on school, I tell them, give it a go at Hagley.”
For the vast majority of teen learners, the attraction of Hagley is the individually tailored programmes, and the opportunity to immerse in full-time time courses such as fashion and music.
When the Changing South crew visited, a rainbow flag was flying atop a pole on the main block. It was Pride Week, which members of the school’s LGBTQI+ group were celebrating by wearing rainbow colours.
Though, as Deputy Principal Rowan Milburn admits, “it’s hard to stand out at Hagley. Sometimes you think it’s dress up day, it’s usually not.”
The school has a no-uniform policy, prompted in part by Paddy Grant’s arrival as an adult student, almost forty years ago.
So, how did that decision to go back to school in 1974 work out for Paddy?
Paddy Grant was a 27-year-old truck driver when he rocked up to Christchurch’s Hagley High School, as it was then known.
It was 1974, the city had just hosted the Commonwealth Games, and Grant was about to make history of his own by enrolling as Hagley’s first adult student and, according to school staff, the first in New Zealand.
Grant, who appears in Frank Film’s Changing South episode on Hagley College, says at the time he was in a job he hated. “I was also a dad - a very proud one - and I felt like I needed a different life.”
He wanted to attend the University of Otago’s medical school but needed a secondary school bursary qualification. Hagley’s principal at the time, Ian Leggat, encouraged Grant’s enrolment, with a few stipulations.
“It was taken I would not be wearing a uniform,” recalls Grant, “and that I could go to the staffroom to smoke a cigarette.”
Today, around 250 learners aged 19 and over study alongside high school-age students.
Current Principal, Mike Fowler, proudly states Hagley has “always been outside the square.”
It’s also one of the most ethnically diverse secondary schools in New Zealand.
Hagley has Ministry of Education ‘Designated Character’ status, awarded to schools which offer unique programmes and courses not available in other schools.
Each year, hundreds of senior students migrate from other high schools to Hagley to complete their secondary schooling. Some of these students have exhausted their education options and Rowan Milburn admits Hagley has been regarded as a place of last resort.
Principal Fowler says for those “who’ve had mixed experiences at previous schools or previous learning, if anything’s going to work for them it’s this place.”
A sentiment supported by a student in Hagley’s Catch-Up College. “If I have any friends that are giving up on school, I tell them, give it a go at Hagley.”
For the vast majority of teen learners, the attraction of Hagley is the individually tailored programmes, and the opportunity to immerse in full-time time courses such as fashion and music.
When the Changing South crew visited, a rainbow flag was flying atop a pole on the main block. It was Pride Week, which members of the school’s LGBTQI+ group were celebrating by wearing rainbow colours.
Though, as Deputy Principal Rowan Milburn admits, “it’s hard to stand out at Hagley. Sometimes you think it’s dress up day, it’s usually not.”
The school has a no-uniform policy, prompted in part by Paddy Grant’s arrival as an adult student, almost forty years ago.
So, how did that decision to go back to school in 1974 work out for Paddy?


![Does New Zealand need a Waste-to-Energy plant?
SIRRL director Paul Taylor says he got behind the idea of a Waste-to-Energy plant
because, “as a farmer, I’m a caretaker of the land.”
Project Kea is an initiative from South Island Resource Recovery Limited (SIRRL) to
build the first Waste-to-Energy plant in New Zealand. The proposed site for the plant is
near the Glenavy township in Waimate.
“Waste-to-Energy is about the conversion of non-recyclable materials into various
practical forms of energy,” Taylor explains. It sounds appealing: instead of shoving New
Zealanders’ waste into landfill, such a plant could burn our waste at high temperatures,
producing valuable energy.
So why are more than 150 Waimate locals against SIRRL’s proposed Waste-to-Energy
plant?
“There is no doubt that, in terms of absolute risk, this plant raises the stakes,” says Dr.
Crispin Langston, a Waimate GP.
“In South London, around the Edmonton plant (also known as Edmonton EcoPark),
there’s an increased incidence of cancers and birth defects, and these have been
attributed to the plant.” Greenpeace have previously staged protests at the Edmonton
plant to “stop the facility emitting cancer causing chemicals.”
But according to Taylor, Project Kea will incorporate new technology which is much
safer than older technologies. “Dioxins were a major issue. As I understand it: now,
dioxins are handled very comfortably within the processing system.”
“My concern,” replies Langston, “is that it’s technology. And technologies always fail at
some point.”
“Why have they chosen Waimate?” Robert Ireland – artist and spokesperson for Why
Waste Waimate – asks. “They want to truck the waste from all around the South Island,
mostly from Christchurch, incinerate it, and truck the residue ash away again. It’ll be
134 heavy truck and trailer movements per day.”
Taylor explains: “[Waimate is] an area that’s centrally located to waste throughout the
South Island. It’s intended that we will move upwards of 50% by rail, if possible.”
In March 2023, members of Why Waste Waimate took to the streets to protest the
proposed plant.
“Since SIRRL have come here and pitched their proposal, they haven’t really
acknowledged us,” says Ireland.
“They were not readily engaging with the local community,” agrees Langston. “So the
local doctors, five of us, got together and wrote an open letter [about health risks of the
proposed plant].”
“We went to discuss the project initially,” Taylor says. “We didn’t have a piece of land at
that stage, and we hadn’t prepared all of our technical reports. That process took a long
time, so it was a long time before we returned to the community.”
“At one of the meetings,” Ireland says, “Mr. Taylor was asked: If the Waimate community
showed that we didn’t want the incinerator, would [SIRRL] leave town? And his
response was: ‘They’ll get to like it.’”
Langston believes that New Zealand does not have a severe enough waste crisis to
require building an incinerator. “There are countries that have a true waste crisis,
where they have to send waste offshore. But that’s not the case here.”
Niki Bould, a Dunedin-based sustainability consultant and waste expert, agrees. “We do
need to make change, in terms of what we’re all buying, consuming and throwing away.
But it is changing. I’ve been working in this space for years, and I can see that.”
Bould points to Waimate’s four-bin system as an example of Kiwi councils working hard
to encourage recycling and reduce residual waste.
Taylor acknowledges the efforts being made to increase recycling. But, he says, there
will always be residual waste, “albeit in smaller volumes,” and the question is what to do
with it.
“We do not have the population in New Zealand to sustain massive burning machines,”
says Bould. “To keep the energy coming [out of the plant], we would have to feed it.
“Where are we going to get all that waste from? It just means we’re going to have to
encourage people to waste, which is the opposite of what we’re trying to do.”
In late 2022, SIRRL applied for resource consent for the Project Kea waste-to-energy
plant. They were rejected twice due to a lack of environmental and cultural impact
information. They have since appealed, and, on May 15, it was decided that their
application will enter the system.
So: how do Taylor and Ireland summarise their thoughts about Project Kea?
“I’m pretty passionate about this,” says Taylor of his company’s initiative. “I think it’s
the right thing for New Zealand.”
“We need to be designing waste out of our lives,” says Robert Ireland. “Not creating
another market for it.”
Credits:
Producer/Director: Gerard Smyth
Editor: Tracey Jury
Researcher/Writer: Nicole Phillipson
Production Manager: Jo Ffitch
Post-Production Coordinator: Andy Johnson
Sound Design and Mix: Chris Sinclair
Attributions:
Architect’s drawings of proposed plant provided by SIRRL
LondonWaste EcoPark photograph by John Davies, CC BY-SA 2.0
“Action at Edmonton Incinerator in London” photograph © Greenpeace / Nick Cobbing Does New Zealand need a Waste-to-Energy plant?](https://i.ytimg.com/vi/Kj7JDVrhahI/mqdefault.jpg)







![Andris Apse: A life through the lens of landscape, loss and Latvia
Andris Apse is one of New Zealand’s greatest landscape photographers, yet his personal story reminds us that life itself can sometimes match the beauty and strangeness of our finest art.
As a five year-old, Apse came to this country from Latvia with his mother Kamilla - refugees fleeing the chaotic aftermath of WW2. The family had been separated, and Voldemars - Kamilla’s beloved husband and Andris’ father - was presumed dead. Some 45 years later, Apse recalls getting an urgent phone call from his mother. She had received a letter in handwriting she instantly recognised.
Talking candidly to Frank Film, Apse describes a life of experiences ranging from hunger and hardship to the eventual rewards of a career capturing the sublime beauty and mood of his beloved New Zealand landscapes.
The career-defining moment for Apse came about when a job with Forest Research first took him into Fiordland.
“We went over miles and miles of country where there were no people, just the sound of the birds, sound of the water and the sound of the vegetation blowing in the wind.
“I didn’t own a camera then, but I thought, ‘I’ve got to go back and buy a camera and come back to Fiordland, and show people what we’ve got here.’
“I became obsessed with it, really.”
The quality and distinctiveness of his photographs, and some timely sponsorship, meant Apse was ultimately able to become a full time landscape photographer.
This clear sense of purpose had been a long time coming. During the war, Andris’ parents and their infant son faced an uncertain future in frightening times.
“They were in their early twenties when they met and fell in love. Then I was born, and he had to go off to the Front.”
“They were torn apart, physically. And he saw me only once.”
The deep love between Apse’s father, Voldemars (Valdis), and mother Kamilla (Millija, is eloquently expressed in Voldermars’ letters and diary entries, excerpts from which Apse generously shares on camera.
Dear Millija, I am longing for you. Whenever you’re not with me, everything seems dark and gloomy.
After nearly five years in a refugee camp in Germany, with hunger as an ever-present companion, Apse and his mother were able to embark on a new life in New Zealand.
“We only had what my mother could carry, which was her bag of letters and me.”
“We were a solitary sort of partnership, mother and son. It was a very lonely existence for us. It was terrible really.”
After Kamilla remarried, Apse was not welcome by his stepfather at home, so he took himself off to forestry school in Nelson. He describes the stark reality of his alone-ness when, come holiday time, classmates were heading home, one by one, to their families.
“I pretended that I had family and friends because I didn’t want to be seen as a lone wolf.
“I’d watch them all go, and I was [always] going to get the next bus out, the next bus out…”
Ironically, there’s a link between Apse’s odyssey to New Zealand and his working methodology. The capacity for isolation and concentration has served his art well.
Ninety percent of his work, he tells Frank Film, goes into planning and exploring.
“I only take 20 photos a year, really. But I spend days researching locations, and trying to narrow down exactly where I have to stand - whether it’s here, there or a metre over there.”
The letter his mother received out of the blue from her dear Valdis changed everything.
“There was great joy. Initially.
“But 45 years is a lifetime, isn’t it. We knew that it was lifetime when we faced each other after the initial greetings and cheers.
“We realised that there was… a lifetime between us, which was quite sad.”
We can all be grateful though, for the life’s work Apse has created, regardless.
Producer/Director: Gerard Smyth
Editor: Oliver Dawe
Story Producer: Rose OConnor
Production Manager: Jo Ffitch
Sound Mix: Chris Sinclair
Production Asst: Romah Chorley
WATCH OTHER EPISODES HERE: https://frankfilm.co.nz/ Andris Apse: A life through the lens of landscape, loss and Latvia](https://i.ytimg.com/vi/P_8TJP0coE0/mqdefault.jpg)