Goodbye Pork Pie

I told you we shouldn't sell the flags.

– Gerry (Kelly Johnson)

We're takin' this bloody car to Invercargill boy.

– Tony Barry

He's just a little crazy. Where you going?

– John (Tony Barry), after stopping to pick up Shirl (Claire Oberman)

There's only one sure thing in life Blondini — that's doubt. I think.

– Mulvaney (Bruno Lawrence)

Nah — need the seats.

– Gerry (Kelly Johnson) negotiates with Mulvaney (Bruno Lawrence) about the mini

It's anarchy without the hate.

– John Bach describes the film, in his behind the scenes interview

...we went back and forth. He was basically writing character and I was basically writing action.

– Geoff Murphy, on taking turns writing drafts of the script with Ian Mune, on the DVD of the restored version of Goodbye Pork Pie

[The film] has all the elements of that cinematic institution, the road movie, with a lightness, even a gentleness, that eludes its Hollywood counterparts.

– Reviewer Noel Taylor, in Canadian newspaper The Ottawa Citizen, 16 May [exact year unknown]

A lot of people talk about Pork Pie with very fond memories but the shoot was just awful... We travelled something like twenty thousand kilometres. We were always tired, the hours were really long. We'd shoot on location from daylight to dusk if it was a day shoot, and when it was dark we'd drive another hundred miles to the next location.

– Producer and sound recordist Don Reynolds on the shoot, in 1994 book Shadows on the Wall - A Study of Seven New Zealand Feature Films, page 51

After it was finished a mate working at the New Zealand Film Commission asked me who I thought would like it, and I said 'Well I think its main audience will be kids and hoons'. And it turned out there were about one and a half million of them.

– Composer John Charles on the success of the film, in 1994 book Shadows on the Wall - A Study of Seven New Zealand Feature Films, page 60

We recorded at Marmalade Studios over two or three days. We took our time with the recording and at times you can feel there's some quite good playing, especially by the jazz players . . . Dave [Fraser] had to keep them on time because even though they were playing a sort of free-wheeling style there were times they had to hit on time.

– Composer John Charles on recording the soundtrack, in 1994 book Shadows on the Wall - A Study of Seven New Zealand Feature Films, page 60