The title of this recording is "David Oxenbridge on Interference". It is described as: David Oxenbridge is the associate producer and social impact producer of a documentary focussing on homosexual law reform in the mid-1980s. It was recorded in Parliament grounds, 1 Molesworth Street, Wellington on the 4th January 2024. David Oxenbridge is being interviewed by Gareth Watkins.  Their names are spelt correctly but may appear incorrectly spelt later in the document. The duration of the recording is 31 minutes. A list of correctly spelt content keywords and tags can be found at the end of this document. A brief description of the recording is: David Oxenbridge is the associate producer and social impact producer of a new feature documentary in development with the working title of Interference. The documentary focuses on homosexual law reform in the mid-1980s. The producer is Marilyn McFadyen, and the director is Welby Ings. The content in the recording covers the decades 1970s through to the 2020s. A brief summary of the recording is: Interference, a feature documentary currently under development, delves into the tumultuous period of homosexual law reform in New Zealand during the mid-1980s. This interview offers insight into the creation and intent of this powerful film. The title "Interference" aptly encapsulates the documentary's dual focus. Firstly, it highlights the activists' ingenious strategies to infiltrate anti-bill events, sometimes disguising themselves to gain access and insight. Secondly, it brings to light the lesser-known interference from the American religious right, which played a significant role in shaping the campaign's discourse and outcomes. This foreign influence mirrors current issues of international interference in LGBTQ+ rights. Oxenbridge's journey to the project began in the early 2000s. Their role in the documentary involves extensive research, engaging with activists, and ensuring that the film's social impact extends beyond the screen into community engagement and education. This involves creating actionable steps to move hearts and minds, especially among younger generations. The documentary's approach is not just a recounting of political events but a deep dive into the personal experiences and societal impact of the law reform. It aims to capture the essence of the era, reflecting on how these events shaped New Zealand's social and political landscape. The film targets a broad audience, from the queer community to mainstream New Zealanders, emphasizing the relevance of these historical events to contemporary issues and struggles. Producing a documentary of this scale in New Zealand poses significant challenges, particularly in securing funding and archival material. Despite these obstacles, the team is determined to tell this story with the richness and depth it deserves. The documentary seeks to be more than just a historical account; it aims to resonate with today's audiences, drawing parallels between past and present struggles for LGBTQ+ rights. By weaving together political, social, and personal narratives, "Interference" aspires to be a visually stunning, emotionally impactful film that educates, inspires, and fosters a deeper understanding of a pivotal moment in New Zealand's history. The full transcription of the recording begins:  My name is David Oxenbridge and we are kind of standing on the Parliament steps. The idea for this interview was to actually be standing on the steps of Parliament because this is all around about homosexual law reform but because it was so windy here in Wellington we've actually gone around the corner and we're standing in an alcove facing Bowen Street. Correct. So we are talking about homosexual law reform and a really interesting documentary you're in the process of making. Can you tell me What is the documentary? Uh, the documentary is, it's working title is Interference, and yeah, it focuses on the 16 months of the Homosexual Law Reform campaign. Why that title? Really, really good question. We had a number working title for a long time before that. The reason we chose Interference is for two really specific reasons, and one that a lot of people may not actually know about. One was the interference on the activists themselves. So they were incredibly good at being able to infiltrate some of the anti bill, uh, events and meetings. They would use all sorts of disguises and sometimes even dressing up as families and couples to get into some of the town hall meetings. Um, there are great stories of them dressing as nuns to get into some of those, uh, events and that worked very well. Um, very hard to tell a nun off. As you can probably imagine, but the other part of the story that I would say a lot of New Zealanders would not know is the interference that took place from the religious right in America. Um, the kind of moral majority, the same ones that helped to get Reagan into power, and the very same ones today that are interfering in places like countries in Africa. Um, creating huge amounts of homophobia and just really, um, horrific laws that are designed to even kill. Queer people in some of those countries. So how have you come to the project and what's your role? Um, how did I come? So just very quickly, I'm an associate producer. So I answer directly to our producer. Who's name is Marilyn McFadgen. And a lot of work I do is, is really directed by her. I've, I've been involved a lot in, in the research of this documentary, especially at the beginning. Connecting with the activists, connecting with other people, researching and maintaining those relationships. Researching in the National Library, not too far away from us. With um, the Lesbian and Gay Archives, also at the National Library. Um, but also just other kind of Um, tasks that, that kind of get delegated to me along the way. Um, I'm also involved in what's called a social impact producer. So my job as a social impact producer is to really make the, the kinds of lessons, um, the objectives of the documentary making them really tangible in the community. So to do that, my job is to connect with community groups and, and create actions and activities. and education around that that will hopefully kind of move hearts and minds in the community. So I think the first part of that question was, how did I come upon? So, um, that started quite a long time ago. I went to university, um, kind of as an adult student in somewhere around 2004, 2005, and during that time I was asked to write an article for Salient, the Victoria University magazine. It was the 20th. Uh, anniversary of law reform at that time and I interviewed a woman called Alison Lurie who was an activist during the, the 1980s, during home theater law reform. And I think at that stage she took, she taught queer theory at Victoria. What was fascinating, the very kind of menial research that I did at the time, it became glaringly obvious to me that this was a really rip roaring story. So if you take the politics aside, the education, the importance of the story, and just focus on the beats and the act, the kind of, the events that took place, just the political events, it looked to me like this is a story that needed to be told. Even at that stage, I could see that some of the lessons that we had learned, some of the incredible happenings that took place during that time had been lost to history. A lot of people just did not know. And certainly the lessons, um, had not really been learned. And I felt like it was very important. That modern audiences, um, needed to know what had happened. It was obvious that a lot of the activists who had given up their lives, and in fact their own kind of safety, needed to be celebrated. People needed to understand what they did. So that was where Um, and that just churned in my head, um, basically until 2018, and I'd been living overseas in Asia for quite a while. And I, I kind of, um, when I came back, I, I connected with Marilyn McFadgen, so I knew, knew with her for a friend. And I kind of, I guess, mmm, um, kind of pitched it to her, but, um, in a very relaxed way. And, and, and this really started a snowball effect, because everyone we've spoken to since then have, have really, thought that this, this story should be told. And the first thing she said to me was, um, how can I help? And the rest is history. And I felt at that time, I felt incredibly honored because she's someone who has made tens of documentaries. She, um, spent a lot of time in Singapore making documentaries. She worked in the television industry before she went over. She's an incredibly experienced producer, um, and very, very motivated, um, incredibly strategic. I'm very, very lucky to have. um, have her on board. And yeah, it all pretty much started from there. Just going back to that Salient article in the mid 2000s, so that's like 20 years after law reform. Were you surprised that there hadn't been a documentary made about homosexual law reform at that time? Yes and no. Surprised in the sense that, as I said, it was just a story that was just jumping off the page. Needed to be told. But not surprised in a sense that even then, um, just as liberal as we were in 2005, we still weren't that liberal. It was still seen as a special interest story and not a New Zealand story. And there was still homophobia. Um, and the 80s I guess was still quite recent for people, yet at the same time, so much that had gone on had been forgotten. It's, it's, yeah, I guess I was. Surprised, but also very excited because, you know, I realised the storytelling potential of those events. I guess one of the things that you're competing against now is time. Because, I mean, 20 years, people get older, activists are slowly passing away. What has that been like in terms of trying to get the momentum of the documentary going, knowing that people are passing? It is a huge responsibility. You're absolutely right about that. We've spoken to lots of activists who have helped us and even in the time that I started to interview them, it was 2019 or something like that. Massive, um, changes were taking place. We've had activists who have died. Um, one of, um, our activists who has been an incredible source of information is, is now living in a rest home. So, things are changing all the time. And so, it's, it's, it's been very difficult. And, and it's, it's, I think it's always frustrating as, A documentary producer, as someone like Marilyn will be able to tell you. In New Zealand, really, the only game in town for funding is New Zealand Film Commission. And they have incredibly tough requirements when it comes to get funding, and we've got to jump through all those hoops, and it takes a lot of time. What's also difficult is that You know, normally, if you're a feature film and you've got, you know, production funding, once you get into production, you can then create your marketing and your social media presence, and you've got this wealth of content that you can use, because you're already in production. So, increase that community even more, because it's a community that you actually need to help you, especially documentaries. We're in a situation where we, um, to get this incredible story over the line, we really need help from the community. But it's very hard for us to create that content in order to do that, so it's kind of like a vicious cycle. Because we're not at the stage yet where we're in, um, production. And so, we've got to be really clever with the way that, um, we create that content. So we've, we've just launched a Facebook page not, not long ago, and so, part of my job is to find ways to be able to create that community. It's about creating a community, because not only do we need help from the community, it's a community story. We know we're really doing this on behalf of the community. Now, I'm a complete novice in terms of film and documentary, so how, can you explain to me how, how funding works and the kind of the stages that you have to go through in terms of funding and development? Um, that's something that, um, Marilyn has been focused on since, I guess, 2019. And we've, we've been incredibly lucky with her, she's played the long game, we've done everything that New Zealand Film Commission have wanted us to do, and so far we've been reaping those rewards. They know this is a good idea. They know the story needs to be told. And they've also been very, very good at really giving us a lot of advice. They have, for instance, given us funding, um, to employ people like kind of script doctors and treatment doctors to really help us, um, kind of hone those skills for us to enable us to get even more funding. So just as an example of, of why it's quite difficult to make a, a documentary in this country is, uh, one reason for instance is, is they, they want it to be internationally viable. It can't just be a New Zealand story that plays New Zealand audiences. So you have to show that. You have to show there's interest from overseas. You have to have overseas distribution. In this country, they expect upfront kind of, um, funding from any distributors and distributors are very reluctant to do that because documentaries don't work. really make money. It's just, they just don't. So yeah, it's, it's, it's been a tough road, but we've, we've been on this journey for a very long time now and we've been very lucky with the support we've got both from New Zealand Film Commission and the community at large. So you mentioned audiences and I'm wondering, can you describe the audiences that you're, you're thinking about when you're designing this? Because I, I guess it really goes into not only, um, what you film, but how you film it and the stories that you tell. Primarily, our first protocol, you know, probably would be queer people, um, aged from 25 until something like 60 or 70, um, because this is their story. Both because there were people who were there, and this is their story, but also because of the young ones, we have a really important ethic to educate. Um, young, youngins, about this, both so that they can understand and celebrate their history, but also, this is a really good warning, there are really good lessons here for some of the fights that are taking place today. It's incredibly important to understand the strategies that were employed during homosexual law reform because they worked, and they were, to my mind, the, the kind of architects of the protest movement were geniuses, because they managed to keep. The action's going consistently for 16 months, when the people who sponsored the bill in the first place thought it might only take about four or five months. It took much longer, the community knew it would take longer, and so they had to employ a lot of tactics to be able to get it over the line and keep the momentum up. So that's really important. Um, the second audience is we really want to open this up to mainstream New Zealanders. Again, this is not a special interest story. We're talking about a story that took place during the 1980s. And this is an incredibly turbulent decade. This is a decade that changed us. Now First of all, I mean, it changed us in many ways. It changed our outlook internationally when we come to things like ANSYS and the Rainbow Warrior bombing. It changed us in terms of the way that we view our indigenous population because of the protests that were going on. Um, it changed us again, I suppose, when it comes to racial relations and kind of in an international environment. The Springbok tour was incredible. Rodgenomics focused us on economics and the plight of those who are less fortunate than ourselves. And what this did, is this took a movement that had started by the way, it had started much earlier in homosexual law reform, way back in the early 70s, in fact even in the late 60s, when you had groups like the Dorian Society set up, who I guess were tangentially involved in homosexual law reform, but certainly, um, gay liberalization. in the early 1970s and those events have been well documented. Um, I note that the very steps that you and I met on, there are photos, um, in the Legands and the Lesbian and Gay Archives that show uh, gay activists with a banner on film, sitting on those very, very same steps, and I think it was, like, 1975. However, homosexual law reform took the word homosexuality and lesbianism. A lot of other words that probably should have Come up at that time, but, but didn't like gender minorities. It took those words into the living rooms. It took 'em onto the streets. It, it, it, it created a conversation that really did take place over the entire country. So this is a story for all New Zealanders. A real focus that we have is on young people. So what we are looking at is probably a first release of the feature film in theaters and in, um. Film festivals that helps us create a buzz, but even more importantly as a second window of releases where it might go into platforms or it might go into streamers that and that hopefully will help us to connect with not just more audiences, but even younger audiences. The other part is with the impact work I talked about before. There's this kind of, um, under the idea of what's called transmedia, where we create, we look at the greater storytelling world of homosexual law reform, and we go, how can we tell that story in different ways and in different platforms to reach different audiences, which may help us connect with young people. So that could be YouTube, it could be social media, it could also be physical, um, analog kinds of events. So we, we will, it's, it's limited because there's only me who's involved in that. And certainly I'm also involved with the fundraising, so those activities might be a little bit limited. But we're also looking at ways that we can connect with them through those, um, I guess through the impact and through those greater kind of storytelling spin offs. The only other thing I would add to is that Welby Ings, our director, he's someone who really is quite passionate about connecting it with today's struggles. It's actually not hard to do. because the story really is relevant today. Not just because it was really a snowball effect that you could argue led on to the Human Rights Act in 1993, adding sexuality, but also, um, gay marriage and a host of other things. But also those tactics and lessons that I mentioned before are something that are incredibly important and, and direct connectly, for instance, just with what's happening with, um, the movements with gender. today and the protests that are taking place. Those things are directly relatable. So we're also looking at opportunities to tell that story in a way that really connects with what's happening today. You've mentioned a number of times social impact and this being a social impact documentary. Can you just describe a bit more about what do you mean by social impact? Social Impact is about making the aims and the goals of the film kind of manifest, basically. It's one thing, it's really a focus, normally with any kind of feature film, especially if it's not a documentary, if it's a, most feature films, many feature films are made with basically the idea to make money, to get bums on seats. Documentaries also want to Um, get bums and speaks because ideally we'd like to recuperate our costs. But what's more important with, with social impact documentaries is making those objectives manifest. It's about connecting with communities. It's about, in the case of some other social impact documentaries, it might be about changing laws. It might be about writing injustices. I think about, I forget what that documentary was called, but a very famous impact. work, um, that I can recall was the documentary about the orca that was in a, uh, in an American aquarium. And I, that, that was basically, um, the, the producers of that documentary wanted to get that, that orca freed. And there was a huge amount of actions that took place after that, that they had instigated to create, to make that happen. So that is a kind of a classic impact where you're actually, the, the, the doc, the impact of the documentary is to set that, that orca free. And so the impact activities will then make that manifest by the work they do in the community. You referenced just before that, uh, we were, when we first met, we were standing on the steps of Parliament and I'm so glad you brought that reference back in because, uh, the thing for me about law reform was that not only was it about activists in the community, but it was also about the whole kind of legal process and that duality, that it was a political legal thing going on, but also the activists out in the community. How is that going to be kind of represented in the documentary? While I talk about this being a story that may have been overshadowed by events such as Roger Gnomics or, um, the Rainbow Warrior bombing or, um, Springbok Tour. There, there are, you know, power dynamics within power dynamics, and the, the political part of it is actually relatively well known. You can go online right now and see very comprehensive timelines of homosexual law reform movement and what took place. What you won't see is the impacts that it had at the time on the community, what the impacts on the street were, and people's homes, uh, I guess the politicians who may have crossed the floor, what was happening with their families, and, and really how it changed us. It is a real focus at Wellbe. Things our director really wants to focus on. He's really focused on the street. What was happening in the street, what was happening in those communities. So, while we're telling that story, there obviously will be a political lens, because it's, it's, it is, it's those activities, like the introduction of the bill and things like, uh, the anti petition that was presented to Parliament on those very same steps. The, the different readings and, and, um, and, and certainly when the Act passed and became an Act. I think what's more important to us is what was happening in the community, what was happening on those streets. So that, I don't know if that answers your question, but that is a major focus of the story. We really want to kind of rise above just the politics and really tell those personal human stories that were happening as well. So as a researcher, how has it been finding those activists or those community stories? Has it been easy or hard or how do you unearth that? To be clear, I'm not a professional researcher. It was probably the first time I've done anything like that. But it wasn't really too hard. You know, every time you speak to someone, they always suggest kind of other people. Um, I had never done those kind of interviews before. I found them quite easy because it was just really having conversations. Unlike what you're doing right now, I'm not creating an interview for broadcast. I was just creating interviews for research. And so, it didn't matter, for instance, if I was, you know, if, if, The sound quality wasn't too good or anything like that. So, really it was just conversations. I just really wanted to find out what these people's involvements were. Both politically and to themselves as human beings and their families and their friends. The other part was, um, but yes, it, it, one of the major challenges we have is archive. It's finding an archive footage. We're relatively well. endowed when it comes to the images. I know Pride NZ, the site that you administer, has a lot of images from an activist called David Hinley. Those images are incredible. He managed to document all the way through homosexual law reform, those 16 months before and after. So we're really lucky to have those and we have some other kind of photos. We have other kind of paraphernalia that have been collected and donated to Legans, Lesbian and Lesbian and Gay Archives. But, video? Hardly any. We're lucky to have a partnership with Getty's who gives us access to CVNZ Archive. But there's not a lot of video. Every single time I've interviewed an activist or any, interviewed anyone, I've always asked them if they'd seen anyone in the crowd with a video camera. If they know of anyone, I've asked you, but there's just none around and we certainly will be putting the call out. In fact, I'll do that right now. We're putting a call out to anyone. who has got video or any kind of paraphernalia from the time. Um, this really helps us tell that story, but it also, more importantly, it helps us tell those personal stories of what was going on. But that, that's been very difficult to find. Luckily, we've got an incredible director in Wellby. Who has a real focus, not just on storytelling, but on the aesthetic. Um, our goal is to make a really beautifully cinematographically impacting kind of work that will really get this film into theatres and, and really get people's interest in. He's just a man to be able to, to do that. But yes, that, that archive part, that research part has been both easy in the sense that people have been very willing and very open to give up their time. We're so lucky to have Leganes with the information that they do. But. There is still, to really make this work, we, we still do lack a lot of material that's out there and so that part has been quite difficult to, to get. So there are so many different threads involved in homosexual law reform, from the personal to the political, so many different activists and so many different points of view. How, how do you go about distilling that down into a, a, a documentary? So the easy answer is that, really, we're taking a real kind of forensic look at those 16 months that took place over that period. So, having well beings come on who is, um, he was the director who came on about a year ago. One thing I've learnt working in the production of this documentary is you have to be very conscious to kind of give the story up to other people. And so when you get a director coming on board, you want All their being and all their creativity to be employed to make this, this work really successful. So well beings will tell the story the way that well being wants to tell the story. In a way that's really kind of close to him. But really the focus for us has mostly been on those kinds of, those 16 months. There may be a little bit of before and after to kind of create that relevance and to kind of create that context. But, But more than the storytelling and, and also just beyond those kinds of interviews. There's a lot of documentaries, especially TV documentaries, that you will see that are very, very run of the mill. You have an interview in an archive, interview in an archive, interview in an archive. Um, and we really want to tell a story beyond that. We really want to take it from just that dry political timeline of just those events. And we really want to understand the emotion, or the impact on the people there, both kind of queer and non queer as well, because again, it affected everybody in New Zealand. We want to make this work visually stunning, because By creating a really good story, a really good visually stunning story, that's what will really help us get into those hearts and minds and, and, and into more audiences, and that second window of distribution I was talking about. There's also, as I said before, a real focus on the people. That would include even the politicians who cross the floor, families, and the human stories. You know, as, as um, Andrew Whiteside has actually, um, He's made the comment that this was a, a, a coming out for pretty much the entire country. And it, it's something that I, I would agree as well, and, and that, to be fair, that also takes across a broader spectrum of what was happening in the 1980s. We had tangibly changed in that 10 years. White New Zealanders certainly, we had become more focused on race relations, we understood more about the treaty, um, and the colonizations and the effects that had happened on our, our indigenous people. Um, And so, the focus for us, and as I've mentioned before, the focus for us really is not just on what's happening politically, that information is relatively easy to get, but what was happening, you know, the people during the time, not just the activists, but the broader community that was out there. Does, does that answer your question? Absolutely. No, absolutely. Absolutely it does. So looking forward, and I think you mentioned some of the things that you're looking for from the community to help out. How can people assist you? How can people, one, get involved if you want people getting involved? And how can they, uh, help make this happen? That is such a good question. Well, we cannot make this story happen without the community, and we've had such a good response from the community so far. Honestly, every time we speak to people, people who work in film and people who do not work in film, not only do they think this is a great story to tell, even, again, if you just talk to them about the kinds of dry events that happened at the time, let alone the greater impacts. People have been very much, yep, we're behind you, we want to help. People have often said to us, why hasn't this happened before, similar to your question, because it seems like a no brainer, right? Um, so we're really grateful, it's been really heartening to have the, um, to have The, you know, the goodwill of the community so far. But we do really need a lot of help. One is in that archive material I was talking to you before. And again, I'm putting that call out. But a lot of it will be to do with the fundraising coming up. And this is not just about asking people to dip inside their own pockets. This is about arming a community of social media warriors. This is, um, when we, when we, which we, we probably will be go inching towards a crowdfunding campaign at some stage. To make that work, we need the community to be social media warriors for us, to have to talk, have conversations, to post and repost and share and convince and cajole people to, to, to help us there. Um, so that's one thing that's, that's really important. I think the other part of that is that we're very much open to philanthropy and even private investors. We're very open to having discussions with people about providing equity. So that's where people put in some money and then they hope to get money back in the back end. And I, and you know, normally a lot of documentaries are not really commercially viable. This documentary, as we say in the film industry, has got legs. It's something that we really think will work. The interference that was happening by the American right with those really clear tangible links with what's happening in politics in Aotearoa right now, what's happening with trans people, but also Some of those other protest movements that are taking place. There are direct relatable Happenings and actions, but also lessons that can be taking place. So I do think this is something that's got legs I do think it's a commercially viable work. So yes, we're very much open to having conversations with people about having private equity when we Our community sorry our social media our Facebook pages is already up and running And, um, through that we're really trying to create a community and that will become the nexus when we launch the crowdfunding campaign. That will be at the heart and centre of that campaign and so we need as many people in our community following that page as we possibly can. So that's the help we require and we'd be really, really grateful for it. I think I'm going to answer my own question, but when I was asking you before about saying, um, well, why hasn't this been done before? And I think one of the reasons possibly is that, um, it actually takes years of passion from individuals like yourself. And I guess The question that I'm going to ask you is what is the passion for this project? Where does it come from for you? the irony of this is When I first had the idea And again, this is an idea It's just an idea and I could not have made it without Marilyn and without the other people who have evolved Our other producer executive producer Alex Lee and of course Wellbeing's our director and and all the other people along the way have helped us Um, the, the passion initially came again from just seeing this as just seeing those events on the timeline and just seeing how if, you know, we have generative AI now we even have generative AI in the space of video making and you could just literally put that timeline into AI and it would probably come up with a really compelling documentary just from that. Um, but it's more than that. It's those hearts and minds, it's those personal stories, it's the heartbreak, it's the anguish. The other thing that excites me so much about this documentary is it is the only kind of queer emancipation movement that took place during the AIDS crisis. That AIDS crisis played an incredible part of this story. It was something that was used by the right. Um, to, um, thought the actions. They, they, they use AIDS to scare the population. That we were all, I guess, People, um, who, who were a threat to society. Um, and, and to my mind too, it was really marked the, and this happened when I started to do the researching, before I even had begun the researching, when it was literally just a very small idea. What I didn't understand, that this is not just a story of woe, of darkness, of sadness. It was an incredibly funny time. The activists were incredible at employing humour. Both humor and shock and interference in equal amounts. They really took care of themselves. There are some hilarious stories out there. It's uh, in Ticky Instone's words, they knew the Salvation Army songs better than the Salvation Army did. And they would sing those songs regularly with their hilarious placards and costumes outside the Citadel, um, during the 1980s, um. And it's those kinds of stories that were both something that Really marked how that activism took place, but also their real focus on looking after their own community. Because they had to. It was 16 months of hard slog and the only way that you could get those activists to keep doing their work, was to look after their own, their own needs. Because you had people dying from AIDS, you had people committing suicide, because there was such a huge focus on being gay that had not existed. That meant that a lot of people were in the firing line. And so, for me, that's a really exciting part about this, is this whole grassroots initiative, the way that we looked after ourselves, the way that we employed strategy. To be quite honest, the right, they, they threw all their kind of, uh, I guess shot all their bullets in the very beginning. But we. We kept a consistent, um, strategy going on the entire time and we did that through humour and we did that through being really close and looking after ourselves at the same time, so. Um, it's an incredible story, it's a magnificent story and I can't wait for it to be on the big screen. The full transcription of the recording ends. A list of keywords/tags describing the recording follow. These tags contain the correct spellings of names and places which may have been incorrectly spelt earlier in the document. The tags are seperated by a semi-colon: 1970s ; 1980s ; 2000s ; 2020s ; Africa ; Alison Laurie ; Andrew Whiteside ; Aotearoa New Zealand ; Coming Up ; David ; David Hindley ; David Oxenbridge ; Dorian Society ; Events ; HIV / AIDS ; Homosexual Law Reform ; Human Rights Act (1993) ; Interference (documentary) ; Job ; Lesbian and Gay Archives of New Zealand (LAGANZ) ; Marilyn McFadyen ; Marriage Amendment Act (2012) ; Member of Parliament ; Moral Majority ; National Library of New Zealand ; New Zealand Film Commission ; Parliament grounds ; People ; Salient (magazine) ; Salvation Army ; Salvation Army Citadel ; Singapore ; Space ; TVNZ (Television New Zealand) ; Tighe Instone ; United States of America ; Welby Ings ; Wellington ; access ; actions ; activism ; activities ; advice ; archival footage ; archives ; army ; audience ; beats ; board ; camera ; coming out ; community ; connect ; conversation ; costumes ; creativity ; crowd funding ; crowd sourcing ; distribution ; documentary ; economics ; education ; environment ; far-right politics ; feature film ; film ; film making ; friends ; funding ; fundraising ; gay ; gender ; gender diversity ; gender identity ; generative artificial intelligence ; history ; homophobia ; homosexual ; homosexual law reform ; hope ; human rights ; humour ; journey ; law ; legs ; lesbian ; library ; mainstream ; marketing ; marriage ; media ; meetings ; movement ; nun ; other ; partnership ; passing ; passion ; period ; petition ; politics ; power ; protest ; queer ; queer theory ; race ; rainbow ; relationships ; research ; rest homes ; running ; safety ; sexuality ; social ; social impact ; social media ; spectrum ; storytelling ; strategy ; suicide ; support ; tactics ; television ; time ; tough ; trans ; transgender ; transmedia ; treaty ; university ; video ; window ; work ; writing. The original recording can be heard at this website https://www.pridenz.com/interference_david_oxenbridge.html. The master recording is also archived at the Alexander Turnbull Library in Wellington, New Zealand.  For more details visit their website https://tiaki.natlib.govt.nz/#details=ecatalogue.1107384. David Oxenbridge also features audibly in the following recordings: "Chosen Family Night panel" and "Tour of Out in the City 2024". Please note that this document may contain errors or omissions - you should always refer back to the original recording to confirm content.