Year 7 English

STORIES in FILM
Hunt for the Wilderpeople

written and directed by Taika Waititi

Screenplay based on the book

Wild Pork and Watercress by Barry Crump
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VIEWING QUESTIONS:

OPENING SCENE:

1. How does the film create suspense and evoke curiosity in the opening?
The film creates suspense in the opening by using an ominous shot of a forest which allows
for the audience to wonder what the setting of the film will be, as well as what is happening
inside, or beyond, the forest.
2. What mood is created in the opening shots in the beginning of the film?

3. Explore the juxtaposition of choral music with the bush shots and effect.

4. In the film, the natural environment is central to the journey of the characters.
What expectations and associations are there in the opening shots regarding the role
played by the bush environment in the story of the characters?

5. Discuss symbolic cues and associations in this scene and their effect on the overall
opening.

6. Partial shots of people are shown. What is the effect of this?

7. VTR: Values, Identities, Actions: Example questions to delve into values regarding the
natural environment.
Values: What values does this film invite us to think about?
How are the values and sustainable practices shown in this text?
Identities: Who is telling the stories?
Who is the audience for the stories in this text? What is the purpose of these
stories?
Actions: What actions might this work encourage?

RESEARCH:
8. What are some Indigenous values regarding the natural environment in New Zealand
and also Australia?
9. What values do you have regarding the natural environment?

PLOT STRUCTURE AND DEVELOPMENT

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10. Why do you think Waititi divides the film into chapters? What is the impact of this
structure?
11. How do the chapter titles add to the effect of a narrative or story being told?

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CHAPTER ONE:

QUOTE: Paula Hall: “[he’s] a real bad egg…look at his file…We’re talking disobedience,
stealing, spitting…burning stuff, loitering and graffiti”

Consider how stories can define us in society and even create an identity for people in
society.
1. Firstly, examine the context portrayed in the chapter picture.
See-Think-Wonder:
a. What do you see in the chapter screenshot above?
b. What does the screenshot make you think about?
c. What does it make you wonder?

2. Read the background to the New Zealand slang term, “egg”. Does this term
contradict the scene or Bella’s home? How?
The term “egg” is a NZ colloquialism (originally a Maori slang term) with two possible
meanings: firstly, a derogatory reference to a person lacking in common sense or values.
Secondly, “egg” may be used among friends as an affectionate reference to a person with
comic qualities.

3. Paula Hall (the social worker)’s story about Ricky Baker:

i. How does social worker’s story position viewers? Do we

sympathise with Ricky or not?

ii. What does Paula’s motto of “No child left behind” indicate
about her worldview and values regarding Ricky Baker and
foster children in her care?

iii. How does the director Waititi depict the social worker and
police officer? Why are they portrayed in this way?

iv. What does Paula’s character represent?

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 v. Visible Thinking Routine: ‘Stories’
a. What is the story that is presented by Paula Hall, the social worker? What is the
account that is told?
b. What is the untold story? What is left out in the account? What other angles are
missing in the account?
c. What is the account that you think should be the one told?

vi. Research the issues faced by children in foster care and fitting into their new
home/s.
- What issues of children in foster care are presented in this section?

- In your view, do you think that film represents this aspect of children in foster care
to a satisfactory level?

4. Hector:

VTR: Creative Questions: How would this figure look different in

Australian bushlore or traditional context?

i. How is Hector introduced to viewers?

ii. What label is given to Hector by Paula Hall and what

associations are there with this label?

iii. What do we discover about Hector’s background in this scene?

iv. Discuss the lighting in the dinner scene. What associations with the home are being
presented?

v. Describe the domestic objects and elements in the kitchen scene and also Ricky’s
bedroom. What is the purpose of these elements?

vi. How does Waititi portray the relational dynamic between Hector and Ricky Baker in
the beginning of the film?

vii. How is humour created by Waititi regarding this dynamic?

viii. Is there a distinctive New Zealand sense of humour or culture in this scene – or it the
scene universally engaging? How is this achieved?

5. Ricky Baker:

i. Ricky takes on different personas during the film. Why

do you think Ricky imagines himself as other
characters so often?

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 ii. Why does Ricky identify with a “Maori warrior”?
Quote: “I’m a Maori warrior, and that bottle over there is a British soldier, and I’m
defending all my wives.”

iii. Why does Bella refer to Ricky as Te Kooti?

Te Kooti was a 19th century Maori warrior who fought against the Europeans (and
some of is own people) and escaped into the Urewera – thus foreshadowing Ricky’s
escape. He was supported by Waititi’s ancestors, the Tuhoe tribe.

iv. What does Ricky reveal about his background through his haiku?
Quote: “This counsellor lady made me do them [haiku] when I got in trouble. They
help me express my feelings.”

v. Waititi reveals Ricky’s backstory through anecdotes and short accounts and his direct
tone and manner. How effective is this technique in conveying Ricky’s backstory?

vi. Bella trains Ricky to use a gun despite the narrative given to Bella by the social
worker.
To what new system or environment is she trying to connect Ricky?
What are the advantages of belonging to this new environment?

vii. Produce or sketch an alternative or counter storyboard for Ricky to Paula’s account
at the beginning of the film

6. Bella Faulkner

i. Discuss the portrayal of Bella. How does Waititi’s

character portrait of Bella fit, challenge or extend
beyond the female stereotype in your view?

ii. Consider Bella’s use of resources and ability to survive in the natural environment:

- She is skilled in hunting (shown in her swift actions) which is important to lessen the
pain and suffering for the animal.

- The animals killed are strictly for food and communal welfare only.

- Her use of the possum fur shows she is maximising the use of the resource.

- Bella’s view of the wild horses also depicts a natural sense of care in line with the
Maori concept of ‘kaitiakitanga’ or guardianship (see ‘Key Maori values and
approaches to the natural environment’). The preference is for animals to be ‘free
ranging’ as much as possible.

- The film (and source text) also depicts the close relationship between the hunter and
the hunting dogs. The hunter must reward the dogs for their work and good hunting

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 dogs are highly prized. There is an understanding that the hunter and dogs will
protect the lives of each other.

Is she a sympathetic character (one that the audience wants to support) for the
audience?

iii. What are Ricky’s needs and how does Bella meet these needs?

iv. How do the dinner and birthday scenes portray Waititi’s distinctive style and humour?

v. Bella tells Ricky he can call her ‘Auntie’ and Hector ‘Uncle’. This is typical of the
extended family dynamic and hospitality tradition in Maori contexts.

vi. Read Bella’s quote below about where she is from and where she wants to be taken
when she dies. What does this indicate about the relationship she and/her people
have with the natural environment?

Bella: “I’m from up there, deep in the mountains…We got a lake up there called
Makutekahu…so high up it wets the cloak of the sky. It’s the first place our spirits go
on their way to Reinga. Yeah, when my time comes, that’s where I’ll go too.”
*Makututekahu: The cloak becomes wet

vii. Read the Maori myth on Cape Reinga (on the next page) that is referenced in Bella’s
comment.

How important is this location to Maori people particularly those in this area?

viii. Bella’s death: Waititi is able to capture tragic moments with poignant richness.

How does Waititi present grief through cinematic form and features?
- What is the impact of Bella’s death for Hector and Ricky?

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 The story of Te Rerenga Wairua (‘Spirit’s Leap’)

Cape Reinga is known to Maori and New Zealand

people as Te Rerenga Wairua or ‘Leaping-place of the
Spirits. From here the spirits of the dead leave New
Zealand or Aotearoa to return to the ancient homeland
of Polynesians called Hawaikii. If you stand at the Cape
you can see where the western Tasman Sea meets the
eastern Pacific Ocean which adds to the feeling of
significance of this location.

There is a lighthouse at the Cape and on the tip of the

Cape is a famous Pohutakawa tree believed to be over
eight hundred years old. Te Rerenga Wairua (Spirits’ Leap and the
sacred Pohutukawa tree
There used to
be a sacred
stream that bubbled from the hillside above the
Spirit’s Leap that was believed to have come from
Hawaikii, named Te Waiora-a-Tane (Sacred
Waters of Life or the Life-giving Waters of the god
Tane).

The Europeans intended to use the spring for their

water supply and built a concrete reservoir set into
the hill. However, once the work was finished, the
stream disappeared underground and only
appears at the low-tide mark at sea level. The
isolated place and wild sounds of sea, wind and
The lighthouse at Cape Reinga nature perhaps lent itself to reports of hearing the
peculiar high singing (called Te Reo Irirangi) and
also laughing and chattering as the spirits pass on their way to Spirit’s Leap.

This place is the north-westernmost tip of New

Zealand angling into the Pacific and is relatively
desolate. Not far from here is Spirits’ Bay which is
inhabited by wild horses and a beach which has
the appearance of being pink all along the shore
into the distance because of its pink shells. A
mountainside beside Spirits’ Bay has ancient
caves in which ancestral chiefs are buried.

It is believed that the spirits travel on the Spirits’

Path (Te Ara Wairua) from where they are in New
Zealand to Spirits’ Leap.

Spirits’ Bay by Cape Reinga

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CHAPTER TWO:

Quote: Ricky (to Hector): “Auntie Bella said you had to look after me!”

1. What are the real issues faced by Ricky after Bella’s death?
Quotes: Ricky [reading Paula’s letter]: As of June the 1st, I will be taking him back into
state custody until alternative arrangements can be made.

2. How does Waititi infuse the bleak reality of daily routines after Bella’s death with
humour? What is the effect of this approach to a difficult time for the characters?

3. Explain the mood and representation of life after Bella’s death presented in the montage.
4. Consider the realities experienced by Ricky as a foster child.
How does this link to the concept of doors?
5. Contrast Hector and Ricky’s perspective of Bella’s death.

6. Discuss the symbolism and significance of the door slamming in Ricky’s face after the
conversation below:
Hec: That’s life – one day you’re here, and the next you’re in a bloody box…it was
Bella that wanted you here, not me.
The welfare are coming…to get ya.
Ricky: That’s that, then?
Hector:…that’s that.

7. Bella’s death and the pursuit of the social worker and police trigger Ricky and Hector’s
physical journey.
Predict: Which other aspects of this journey will be developed?
8. What could the burning of the barn and the fake Ricky Baker symbolise?
9. How does Waititi depict the burning of the barn with realism but also humour?
10. Analyse the portrayal of the bush and environment at the end of this section and what
this forebodes.

11. VTR: Step Inside: Perceive, Know About, Care About

 What can Ricky perceive at this point of the film?
 What might Ricky know about or believe?
 What might Ricky care about?

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 CHAPTER THREE

Ricky: “I’m excited to go back to the city…Get me some new gears, become a drug dealer, a
rapper, and die in a drive-by.”

Questions:
1. What role or purpose do stories have for Ricky? How are they a type of escape for
Ricky?

2. What is the effect of the song in the opening of this section? What key ideas are
depicted?

3. How does Waititi depict Ricky’s lack of bush survival skills in the opening video
montage?

4. Describe the tensions in Ricky and Hector’s relationship? How is their relationship
changing in the new context?
5. Describe the irony in the situation of Hector’s injury.

6. VTR: ‘Stories’

Take a closer look at Hector’s backstory and character development.

o What is the story that is presented about Hector?
o What is the untold story? What is left out? Create a possible narrative of Hector’s
background
o Do you think that the scene would be better if we knew about Hector’s specific
backstory? Why or why not?

7. a.How does Waititi create humour in their investigation by Paula and Andy?
b.How are these characters depicted? You may want to consider features of the
comic characters such as Dogberry and Verges in Much Ado About Nothing.

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 CHAPTER FOUR

Quote: Ricky: “That was like when my mate Amber died, I processed that for a-ges…
[Amber] started getting in trouble telling stories…and then one day she was…just dead.

1. Waititi varies the emotional tones of the stories in the film eg from happy, to tense, to
nervous, to shocked. For each of the scene images below, write one word (or more if
there are conflicting or multiple emotional tones) indicating the different emotional tone.

One of the features of Taika Waititi’s distinctive storytelling style is to expose underlying
realities while adding warmth and humour into his work.
In this section, Waititi delves into a darker realities faced by children vulnerable in the foster
care system.

2. What does Ricky’s story about Amber reveal about possible issues faced by foster
children?
3. How does this relate to fears Ricky holds about his future?

4. Why is it important for stories such as these to be told?

5. Waititi combines realism with humour in the film.

Write about a serious issue or moment then contrast this with a light-hearted moment or
experience.

Moments of realism in the film Light-hearted or humorous moments

6. What is the purpose of Waititi’s juxtaposition of realism and humour? How does this
emotionally engage the audience?

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7. What is “the knack”? Why is it important that Ricky gains mastery over the bush?

8. How is the relationship between Ricky and Hector changing?

9. How does Waititi indicate that Hector is still dealing with grief over Bella’s death?

10. How is Ricky’s response in his new environment contrasted to that of Hector’s response?

Discuss the use of cinematic devices to convey these differences.

Just before Ricky and Hector arrive at their first bush

hut where provisions may be found, an aerial shot of a
tree that towers above the rest is shown (see picture
on the left).

This is a visual allusion to the Maori mythical god,

Tane Mahuta and important values on one’s approach
to the natural environment (that is the forest and all in
this sphere) and sustainability.

The first value is to acknowledge and revere a greater

force than your own capabilities in the greater scheme
of the universe. Tane Mahuta is the god of forests
ruling over every plant, tree, creatures (small and bit) and natural element that exists in the
forest. When people ‘take’ or are receive from this environment, they must appreciate the
resources provided in the forest. This is similar to other natural spheres or environments
such as the ocean in which Tangaroa rules.
One way in which people honour Tane or this greater force could be to give back the first
thing caught such as a fish as an offering of appreciation. In return he continues to
sustenance and provision for us.
This represents at least three key principles; firstly, human beings are only stewards over
these resources. Secondly, we must appreciate the scarcity and value of natural resources.
Thirdly, there is a complex interdependent relationship between human beings, natural
resources and spiritual elements – and human beings must not tip the balance with reckless
behaviour. Otherwise there could be both dire physical and spiritual consequences.

11. What could be the reason for Ricky and Hector finding the bush hut after the camera
shot of the tree referencing Tane Mahuta is shown?

Note that in the source book, Ricky and Hector ensure they leave enough provisions in the
hut for the next visitor; they are aware of the interconnected network within human society
and nature.
This traditional link to the land is part of Ricky’s education in the New Zealand bush and
wildlands.

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Below is probably the largest kauri tree in Waipoua Forest in the North Island carrying the
name and symbolically the sacred mana (prestige, power) of Tane Mahuta.

What does the above myth teach us about sustainability?

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CHAPTER FIVE

QUOTES: Hector: I’ve been to prison.

Ricky (admiring tone): Gangster!

1. How are Ricky and Hector represented in the news story?

2. How are Hector and Ricky’s perspectives of fame and crime different (read the above
quote)?

3. Ricky: “when the Wildebeests migrate, they walk up to a thousand miles…Just like us…
trying to get somewhere. Looking for a better home”
How does Ricky perceive their journey?

4. What is the reality of Ricky’s situation? What does he reveal about himself?
Ricky: You’re not listening! Nobody listens…They don’t care about kids like me. They
just keep moving us around until…something happens, like…Amber.

5. Take a closer look at Ricky’s character:

 What can Ricky perceive or understand at this point of the film?
 What might Ricky know about or believe?
 What might Ricky care about?

6. In this scene, Hector reveals his past. Does this change the way we see him?

7. Describe the use of music in this section.

8. a. What genre features do you notice in this section?

b. How does Waititi subvert or adapt these conventions?

CHAPTER SIX

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Hector: Bella didn’t know where she was from…She was making it up…Bella didn’t have
any family. Like you. Like me. That’s why she wanted to look after you…and took pity on
me.”

1. Analyse the transition from the end of Chapter Five and Chapter Six.
a. How does the emotional tone and depiction of the bush change? Try to include
film devices in your response.
b. Do the film genre features change?

2. What do you think about Bella creating her own story of her identity? Why do you
think she did this? Is her story valid?

3. Extension reflection question:

Are creative reconstructions of self-narratives important or valid?

4. How has Ricky’s relationship with the natural environment impacted his growth over
the course of the film so far?

5. Waititi create humour through Paula’s story and character portrayal on the news
report?

6. How does Waititi use film techniques to represent the bush as a magical and
nostalgic world?
Consider how the discovery of the huia bird and Ricky and Kahu’s bareback horse ride
adds grandeur to the natural context of the bush.
Background context: The birds of the huia were used for hair adornments of Maori chiefs
so the huia bird holds much prestige and nostalgia.

7. Group work: Complete a ‘See, Think, Me, We’ thinking routine for a topic (allocated
by the teacher.
 SEE: Watch and listen closely to the scene. What do you notice? Make lots of
observations.
 THINK: What thoughts do you have about the work?
 ME: What connections can you make between you and the work?
 WE: How might the scene be connected to bigger stories – about the world and our
place in it.
CHAPTER SEVEN

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Context: In this section, Ricky makes an important connection with the girl and her family
setting.
A value in many cultures including the Maori culture is the importance of hospitality. Once a
person is welcomed into the home, this person will commonly be viewed as family in the
kinship network.

1. How is the close relationship between people and the land conveyed through the
cinematic treatment of the environment and children on horseback?

2. Describe the transition between the above scene to the inside of the house. How
does the emotional tone or mood change? In your response, include film techniques.

3. The hospitality and inclusiveness of the family help Ricky to open up and reveal his
backstory. Ricky’s story gives us the back story to his family and foster situation
Explain how Ricky’s story contrasts with Paula Hall’s representation of his character.

4. Perspective: How does Waititi use cinematic devices to convey Ricky’s first person
perspective of the girl (Kahu)?

5. What is the purpose of the reference to the 1983 NZ flake commercial reference:
<https://www.nzonscreen.com/title/light-as-feather-cadbury-flake-1983>

6. The girl tells stories then constantly reveals she is joking or not telling the truth. What
does this indicate about the nature of stories?

7. Students complete the VTR See, Think, Me, We’ focusing on the relationships and
connecting to the bigger picture of community
 SEE: Look closely at the scene. What do you notice about the relationships? Make
lots of observations.
 THINK: What thoughts do you have about the scene?
 ME: What connections can you make between you and the scene?
 WE: How might the scene be connected to bigger stories – about the world and
our place in it.

CHAPTER EIGHT

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Ricky “I’m a menace to society…I’ll probably end up driving a steamroller…that’s what
happens to gangsters…I’m better at being a gangster.”

1. How do we know that this is an action or ‘fugitive’ movie? What are the genre
conventions depicted in this section?
2. How has the news narrative changed about Ricky and Hector?
3. How are the authority figures represented in this section? How does this engage the
audience?
4. Ricky defines themselves as “the Wilderpeople”. What is the significance of this
reference?
5. How are the film references relevant to Ricky and Hector’s situation?

6. Killing of the pig

How is the timing of the killing of the pig ironic in the structure of this scene (clue:
consider Hector’s comment to Ricky)?
7. How is tension built throughout the scene?

8. How is the killing of the pig an important stage in Ricky’s development? [Time:
approx.1:06]? How does his response here contrast or compare with the earlier scene in
which Bella killed a pig for dinner?

9. Why does Ricky choose this place to sprinkle Bella’s ashes?

10. How does the film convey key values and symbols in this scene? [Time stamp – 1:09]
11. What could be the symbolism of water in this scene?
12. There is minimal dialogue in this scene. What effect does this have?

13. How appropriate in your view is this location to her myth about Makutekahu?

14. How are film devices used to show the passing of time?

CHAPTER NINE

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 1. What film reference is made by Ricky when they are hiding from the police?
Watch the relevant clip here <https://www.youtube.com/watch?
v=2L0A2D7zV7A&t=59s>
What is the effect of the reference?

2. The theme or motif of outsiders continues as Ricky and Hector (or Hec) come across
‘Psycho Sam’.

3. As we encounter Psycho Sam, we wonder about his backstory and the amount of
truth in his stories. He also chooses to construct a story about his identity.

4. What stories are questioned or affirmed by Psycho Sam and how has he responded
to these stories?

5. Read Ricky’s haiku below. What changes are indicated through this haiku?

Ricky: Trees, birds, rivers, sky

Running with my Uncle Hec
Living forever

6. What issue does Ricky raise regarding his own inner conflicts about his origins?
7. How is Ricky rewriting his own story and taking on a new identity?

8. Analyse the scene where Ricky reads his haiku and shares about his parent issues.
In what way/s is their relational bond represented through the mise-en-scene?

CHAPTER TEN:

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 1. How does Psycho Sam comically enrich the story?

2. Taika Waititi’s distinctive cinematic style is seen in the nostalgic nod to a famous
Toyota Hilux Commercial and reference to the author of the source text of the film,
‘Wild Pork & Watercress’, Barry Crump (‘Crumpy’) in the commercial
<https://www.youtube.com/watch?v=iqwnr2sza_o>.

Does this feature of Waititi’s filmmaking engage Australian audiences in your view?

3. Describe the genre features shown in this section.

4. How is Ricky’s fantasy or constructed narrative about his identity fulfilled in this part
of the film?

5. How are the constructed narratives about identity fulfilled in the lives of other
characters?

6. Why does Ricky create a false narrative or story about Hec?

7. What is revealed about Paula Hall and her story about her identity?

8. How does Waititi cinematically summarise key events in the court trial?

EPILOGUE

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1. Describe the tone of Ricky’s apology and how it engages audiences.

2. Explain why Hec’s haiku is important:

Me and this fat kid

We ran, we ate and read books
And it was the best

3. What goals have been achieved by Ricky?

4. Read the following extracts from the resolution of the novel.

What insights about Te Urewera and the natural environment are offered in Ricky’s
words?

The Urewera country had taken things off me and given me things. It had sheltered
me and frightened me. The bush still stands there growing and minding its own
business.”
“It’d taught me something other people never could. It’d taught me how to stick to
rules that weren’t my rules, just like everything else had to. In fact I was beginning to
see how it all works. The rock gives in to the vegetable kingdom. The vegetable
world takes from the mineral and gives up itself to the animal world. And then me,
human beings, people…But I could only take advantage of my place in it by sticking
to the rules, and to step out of line could get me killed. It taught you respect…It might
be the same with everything, for all I know, and just go on forever.

5. In the novel, Hec and Ricky go into the bush (Te Urewera) and are never seen again.
Their friend who narrates the last chapter hopes that they are “Still sticking it out
together”. What do you think about the novel ending?

6. Are you happy or satisfied with how Taika Waititi ended the film? Why or why not?

7. In your view, does the film story emotionally connect with the audience at key points?

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