Chief of War

For co‑creator and writer‑producer Thomas Pa‘a Sibbett, filming Chief of War in New Zealand was not simply a logistical decision; it was a cultural one. When production could not fully base itself in Hawai‘i, the team explored other international options that could visually replicate the islands. Ultimately, those options fell short of what the story required.

Sibbett has spoken openly about how Māori cultural practice shaped the way Chief of War was made on the ground. Rather than treating culture as an advisory layer, the production worked within it, from how land was entered, to how people carried themselves on set.

“I can’t begin to express how many times the decision to go to Aotearoa paid off. … it was so grounding for us that Māori hold the space properly — they insist that there is a certain level of decorum to be done on their land.” — Thomas Pa‘a Sibbett

That decision anchored the series in a place with deep ancestral, linguistic and cultural connections across the Pacific. New Zealand provided not only landscapes capable of standing in for an 18th‑century Polynesian world, but a filmmaking environment where Indigenous protocol, respect for land, and shared understanding were embedded into the production process. For a project carrying the weight of history and identity, that foundation was essential. The cultural grounding was reinforced through creative leadership from within Aotearoa itself. Bringing Cliff Curtis into the production as a producer in New Zealand helped ensure the project upheld those standards consistently, while also strengthening collaboration between local crews, cast and visiting creatives. The result was a production environment that supported both scale and sensitivity — a defining strength of New Zealand’s screen sector.

Much of Chief of War was brought to life in and around Tāmaki Makaurau Auckland, combining rugged coastal environments, dense native bush and studio infrastructure to create a cohesive Pacific world. Locations across the Waitākere Ranges and the west coast delivered dramatic, elemental landscapes, while Kumeū Film Studios and Auckland Film Studios supported complex builds and extended production schedules.

For actor and producer Cliff Curtis, the scale of the series — and where it was achieved — speaks directly to New Zealand’s capability as a global production partner.

“It’s a great example of a world‑class show made for a global audience right here in Tāmaki Makaurau.” — Cliff Curtis

The series stands as proof that New Zealand can deliver productions of exceptional ambition, combining technical excellence with creative depth for premium international platforms.