Adelaide
Oct 30 - Nov 1, 2026
Adelaide Showground
For many fans, recent Supa-Fans Jed Brophy is synonymous with Middle-earth. Across The Lord of the Rings and The Hobbit, he brought to life dwarves, orcs, soldiers and countless other characters. But his career stretches far beyond Tolkien, from New Zealand theatre stages to cult horror classics and independent films.
During his appearance at Supanova Comic Con & Gaming in Sydney this year, we caught up with him to discuss his life, career, and his deep connection to New Zealand.
Despite the enormous changes in filmmaking over the decades, Brophy says the core of his philosophy on acting has remained consistent and focused. “My approach is the same as always – gather as much information from as many people as possible to inform me about the arc of the story, and then my character’s part in that story arc.”
If anything, experience has taught him to ask even more questions. On larger productions, actors are often given significant time for character development, weapons training, movement work and dialogue coaching. Brophy says he’s learned the importance of seeking access to directors early and making sure he has the information he needs before filming begins.
He’s also become more confident in contributing his own ideas. He says, “In the past I was more passive about input from me. Working in big films, you understand that your input is also valid. Also being brave enough to say, ‘Well I have an idea about that costume, or that weapon.’”
While Brophy has worked across film, television, motion capture, teaching and voice work, there is one place he still feels most at home – the theatre. “It’s the most honest place because audience love will let you know immediately if you have their attention,” he says.
For him, working on stage is about the process as much as the performance. The daily exploration of character, the rehearsal room, and the gradual build toward opening night all culminate in what he describes as a shared journey between performers and audience. “There is no take two. No reset.”
As far as his screen presence goes, one of Brophy’s earliest appearances was in Peter Jackson’s Braindead, the bonkers splatter comedy that would go on to become one of New Zealand cinema’s most celebrated cult films. Brophy says it always felt uniquely Kiwi. “Yes, working on Braindead was unique to the New Zealand psyche… we like dark, gory stories and Peter tapped into that.” He points to Jackson’s earlier films such as Bad Taste and Meet the Feebles, along with a distinctly dry New Zealand sense of humour, as part of the film’s identity.
“We all knew it was going to be confronting for some in terms of the amount of gore but also that it was about time we made our own zombie movie,” he explains, with the experience remaining as one of the highlights of his career. “I’ve never had so much fun making a movie. Hard work but at the same time joyous and hilarious. I also knew that we were seeing genius at work from both Peter, but also the folk at Wētā Workshop.”
Decades later, Braindead continues to resonate with audiences. “I’ve had so many people around the world tell me Void is their favourite zombie, including Simon Pegg and Nick Frost,” he says.
Away from film sets and stages, Brophy remains deeply connected to his rural upbringing. Growing up in a sheep and cattle farming community left a lasting mark on how he approaches both life and work. “There is a humility you get when growing up in a small community. No one lets you get above your station,” he explains.
Brophy sees parallels between those rural communities and the early New Zealand film industry. “Small communities rely on each other a lot. As did the fledgling NZ film industry. They were very similar in that way. The people who still live and work back in the land where I grew up ground me with their generosity, good will and pragmatism.” Those experiences shaped values he still carries today: reliability, hard work, helping others and always doing a job to the best of your ability.
As someone who has worked on some of the largest productions ever made, Brophy still finds himself drawn to smaller projects. “Independent films often have the most interesting narratives. They rely on story over special effects,” he explains. “Without as much support from large intricate sets and special effects you have to hold the story with character.”
He’s also enthusiastic about supporting emerging filmmakers and fresh ideas. “Recently I did an indie film with Graham McTavish and David Wenham.” The movie is A Dog’s Show and will be released later in 2026. Brophy continues: “It was such a joy to just play real people from a golden era of NZ history. It was a feel-good story and I think we need those more and more.”
Asked about the evolution of New Zealand’s screen industry, Brophy believes the country’s relatively small size remains one of its strengths. “There is a feeling of coming home when you walk into a film lot, that you are part of a large extended family. We are very lucky to have such a rich, diverse community. We have story tellers from many different cultures and those voices are getting more traction and better avenues to have their stories funded.”
At the same time, the industry’s success still depends on the same things that helped build it. “What remains the same is that it’s a small community and we rely on each other to get the projects off the ground and made,” he says. Brophy believes that enduring Kiwi resourcefulness continues to define New Zealand storytelling. “We always try to find a way to make something work.”
