John Hurt (Harry Potter, Elephant Man, Midnight Express)
Emily Barclay (The Silence, Suburban Mayhem, Prime Mover)
Lily Bell-Tindley as Lou
Written and Directed by Belinda Chayko
Produced by Tony Ayres, Helen Bowden, Belinda Chayko, Michael McMahon
Executive Producer Liz Watts
LOU PRESS KIT
LOU is a tender story about the relationship between 11-year-old Lou and her grandfather. Not
long after Lou’s father walks out of her life, her irascible and befuddled grandfather crashes in.
But when Doyle comes to stay, Lou discovers, against all her expectations, the healing power of
Eleven-year-old Lou’s life was instantly turned upside down when her father walked out on her
mother and two sisters ten months earlier.
Feeling abandoned, she copes by building a tough shell around her heart – afraid to let anyone
hurt her again. Lou blames her mother for her father’s departure and refuses to let her get close.
Life suddenly becomes more interesting when her estranged grandfather moves in to the
family’s ricketty, rented home. Doyle brings chaos with him, not least because he is ill and
befuddled – living largely in the past.
In his confused state, Doyle mistakes his granddaughter for his long departed wife, showering
her with attention in an attempt to win her affections. Lou, intrigued, plays along with the
fantasy, using her bond with Doyle against her mother.
As the game progresses, Lou begins to experience genuine care from Doyle. Her tough shell
begins to be chipped away and Lou ultimately understands what it is to be loved - in the most
unexpected of circumstances.
A few years ago I met a young girl in foster care. While we were chatting she brashly told me “in two
years’ time I’m going to be a teenager”. It felt like she was expressing her lack of power, her anger
about the way she had been treated as a child and her desire to move beyond that. I could feel the
lack of love in her short life and, in some ways; LOU is a love letter to the girl who inspired it. An
affirmation that love does exist, even if it isn’t “true”.
The film was also inspired by my uncle, who suffered from Alzheimer’s Disease. As the disease
progressed, I was struck by the grief he was feeling for the loss of his own “self” and I’ve tried to
capture some of that with Doyle’s character.
My uncle’s confusion was often able to reveal an essential truth about our own lives. I remember
once sitting at the dinner table with my uncle and other family members. We were arguing about
something and my uncle leaned over to me, pointed at the reflection of us all in the window and
whispered “Pssst. Who’s that mob over there?” I had to answer, in all honesty, that I didn’t know.
Who was that mob?
My answer satisfied him. I’m sure if I’d tried to explain the reflection, he would only have become
confused and agitated. But by entering into his world, if only for a moment, we were both happy.
Lou and Doyle enter a world of their own making in the film – a kind of parallel reality. It doesn’t
make sense from the outside but it makes sense to them. And it’s in that world that they are able to
help each other get over their losses. I’ve always been attracted to the more complex side of life, so I
surprised myself when I discovered I was making a film about the healing power of love. But that’s
what LOU is – a romance, between two very unlikely players.
I wanted to make a beautiful film, and the opportunity to film in the sugar cane fields of northern
NSW, where I live, enabled that. I love the palette of pinks and greens and the softness of the film.
Some of the blokes who worked on LOU have called it a very “feminine” looking film. That usually
prompted a very un-feminine look from me. Anyway, although they don’t know it, I’ve seen those
same blokes wiping away a tear or two during screenings of the film.
LOU is very much a film about the characters and I was blessed to be able to work with an actor of
the calibre of John Hurt. Among my all-time favourite performances are John’s work in The Elephant
Man and The Naked Civil Servant. I had to pinch myself sometimes on set, just to make sure I wasn’t
Emily Barclay is another of my favourite actors and was wonderful to work with. Emily was able to
bring her own experience of working on film when she was very young to helping 12-year-old Lily
Bell-Tindley – our Lou – find her feet in the role. Lily was discovered in a little village in northern
NSW and her performance is remarkable. If she chooses to continue acting, we’re going to hear a lot
more about Lily over the years.
- Belinda Chayko
ABOUT THE PRODUCTION
LOU is a powerful emotional drama about the tender relationship that develops between Lou, the
11-year-old daughter of a floundering single mother, and her grandfather who, suffering the
confusions of Alzheimer’s disease, unexpectedly lands in her life.
The film introduces, in an astonishing first performance, Lily Bell-Tindley in the eponymous role and
stars charismatic British actor John Hurt as her grandfather.
Their story is set in the lush cane field country of northern NSW, with spectacular dormant volcano
Mt Warning as a backdrop - one of the most beautiful places in Australia, although rarely seen on
Belinda began writing the script while still living in Sydney but moved its urban setting to the country
after she resettled in Murwillumbah. Over time she came to appreciate the remarkable beauty of
the area and began to consider the opportunities it presented as a film location.
“Films about struggling families tend to be set in grey tower blocks and other drab surroundings – so
much so it’s become a cliché. In this region, there’s poverty yet people are living in physically very
beautiful surroundings. I think that creates a tension that I was keen to work with in the film,”
“The other benefit is that we have ended up with some truly beautiful images which suit what I
believe is a very romantic story. I wanted to create an idealised world in which these characters
could exist – could dream their dream - and the landscape helps do that.”
For John Hurt, filming in Australia was an opportunity to return to a country with which he has had
long ties. He had close family members living in Australia for many years and had enjoyed very
much making the film The Proposition in the outback in 2005.
Securing Hurt for the role of Doyle was key to the successful financing of LOU says Tony Ayres, who
produced the film with Matchbox Pictures partners Helen Bowden and Michael McMahon.
“Because the film is a relationship drama, the casting is everything. John has such a fine
international reputation and is a very sympathetic actor. We felt he would bring gravitas to the
project which would give international buyers faith in the film, and we knew he would be absolutely
right for what is a sensitive role,” Tony Ayres says.
“John read the script and loved it. He found it very moving.”
Belinda Chayko says it was a ‘red letter day’ when John Hurt said ‘yes’: “John was perfect for the
role,” she says. “I’ve always admired the way he embraces a character’s vulnerability and that was
important for the character of Doyle, who is struggling with significant losses.”
“He was incredible to work with and has given a beautiful performance.”
Belinda’s inspiration to write LOU was two-fold: observing an uncle ill with Alzheimer’s and meeting
a young girl in foster care.
“I was struck by the pain and the loss my uncle felt through the process of the disease. It was painful
for him because he was aware, at times, that he was losing a sense of his identity. It was like he was
grieving that. But he was also able to give us something – through his parallel reality he was able to
shine a light on our reality at times, to cut through the crap, which was liberating,” Belinda says.
“The young girl I met had built a hard shell around herself, to protect herself from the hurts she’d
felt in the past. I started to think about what it would be like for a girl who never allows anyone to
break through that shell, what kind of future would she have? Or, what might change for her if, at a
key point in her life, she is able to experience being loved by someone unconditionally and
“I didn’t realise I’d written a film about the healing power of love until I was quite a long way into
the script. But that’s what it is – both Doyle and Lou give each other the gift of love. For Doyle it
heals the hurts of the past, for Lou it opens up her heart for the future.”
Producer Michael McMahon was struck by the tenderness and beauty of Belinda’s script, as well as
its honesty: “It maintained those qualities throughout the various drafts. It was always beautifully
written. What was so wonderful was the journey of the girl – how, through the arrival of her
grandfather, she learns there is love and warmth and that people can care for each other. It’s a very
With John Hurt in place, the role of the young mother was offered to New Zealand actress Emily
Barclay, acclaimed for her performances in films such as Suburban Mayhem and In My Father’s Den
and the television drama The Silence.
“Emily Barclay was a revelation. She’s a fantastic actor and I’ve always loved her performances, but I
couldn’t imagine how much she would be able to bring another dimension to the character of Rhia
that is so unexpected and yet just so completely right,” producer Helen Bowden says. “There was
always a level of worry, leading up to filming, that audiences would judge Rhia harshly. Belinda was
always concerned to ameliorate that kind of judgement of the character which is exactly what
Emily’s performance achieves.”
Last to be cast was the role of Lou.
“The character was written at a very fluid moment of life, when she is just on the cusp of puberty. So
we had to cast very close to the beginning of filming because six – 12 months in the life of an 11 or
12-year-old can make a phenomenal difference,” Belinda Chayko says. “That put an enormous
amount of pressure on us to cast in a very short period of time. Our wonderful casting director,
Nikki Barrett, always assured me that we would find Lou; though there were moments when I was
terrified that filming would start without our lead actress. Nikki’s confidence was a great help.
“Amazingly, we discovered Lily just down the road. I first saw her at an audition at Byron Bay. She
performed well but it wasn’t the audition that really grabbed me – it was something more about her
attitude as she walked back out the door. I saw something of Lou in that walk and we recalled her on
that basis. It was in subsequent try-outs that we discovered the depth of Lily’s ability as a
Producer Tony Ayres says: “Lily Bell-Tindley is a find. She is magnificent in this role and we’re all
very excited about her as an actor and this film as a vehicle to launch what we hope will be a great
film career, if that is what Lily chooses to do.”
John Hurt says Lily’s maturity and poise at only 12 was remarkable. “Working with child actors is
always a gamble, but the gamble paid off! She’s a very bright 12-year-old and most receptive and
eager to learn.”
A sense of yearning and nostalgia runs through LOU. For John Hurt, it’s felt through the character
Doyle’s memories of his life at sea and the solace that Lou brings him. “In his diminished mind and
diminishing mind, she becomes the image of the love of his life and that is a solace to him.”
That sense also informed the choices of production designer Pete Baxter. Belinda Chayko initially
discussed with him a palette of greens, golds and pinks, evocative of sunset over the cane fields.
“I went off and did some research and came back to Belinda and DOP Hugh Miller with a whole lot of
photographs that had been processed in a way that gave a very nostalgic feeling and a real softness.
They were like old photographs and that really appealed to Belinda because so much of the film is
The film is set primarily in a Queenslander house (weatherboard house on stilts) where Rhia and her
children live, and the surrounding cane fields. Miraculously, the locations survived catastrophic and
unseasonal floods, which hit the region just before filming began. The region is renowned for its
rainfall – and hence its lush green rainforest.
Producer Helen Bowden recalls the mayhem: “Our runner arrived at John Hurt’s house with script
amendments, just as his street was being evacuated and he was about to be taken away with other
residents to sleep on a mattress at the local technical college!
“Our timing for filming was driven by the financing but also when the sugar cane is burnt, as we
wanted to capture some of that for the film – and we had been told it was the dry time of the year.
We had four perfect weeks of pre-production and I think I had a false sense of security that perhaps
it was just going to be fine. But a week out, before shooting, the rain started. At one point, as well
as saving John Hurt from evacuation, we couldn’t get to our main location house because of the
floods, we couldn’t get our lead actress out of her house to come to rehearsals, the door had blown
off the rehearsal room and we had two days without power in the production office. It was chaos, it
was real chaos. Then, just before we started shooting, the floods went down. Although we did have
two weeks of rain that followed which was pretty stressful, a flood during the shoot would have
been disastrous so …. we were lucky.”
Miraculously, the rain also stopped for the summery beach scenes and a spectacular late afternoon
sun dropped behind Mt Warning, casting incredible golden light over the cane fields, on the day
Belinda filmed a pivotal moment in the story when Lou dances unselfconsciously against the setting
Cinematographer Hugh Miller says he treated the landscape like another character in the film. “For
the children in the film, the environment is such a huge part of their lives so we scheduled certain
scenes at certain times of the day so, for example, the sun would be in exactly the right place. The
soft colour palette meant we decided to shoot a relatively low contrast look, which is done partly
through grading but also with filters, which gives the piece real gentleness,” Hugh says.
LOU was shot digitally, enabling long takes not interrupted by changing film magazines, important
when working with children. In the story Rhia has three children. Lou has two younger sisters,
Leanne and Lani, played by sisters Charlie-Rose and Eloise MacLennan.
Much of the film was shot hand-held, another creative and technical decision influenced by the
children, Hugh explains. “Belinda and I liked the idea of a hand-held look and it also had the
technical advantage that it wasn’t so important if the kids didn’t hit their marks. It was great too in
confined spaces, such as the main house location.”
Hugh shot LOU on a Sony digital F35 using film lenses: “We used old lenses because we liked the
quality and the softness they gave. The way we shot the film was great for faces so worked very
well, particularly for scenes with Lou and Doyle together.
“I loved the script when I read it and thought, photographically, it should be a real exploration of the
characters. It had a simplicity and an honesty in its story telling and that really appealed to me as a
While the Lou/Doyle relationship is central, producer Helen Bowden also believes audiences will
respond to the changing dynamic of the relationship between Lou and her young mother Rhia.
“At the beginning of the film they are locked into a tension that can’t quite resolve. Lou’s heading
into puberty and she’s angry with her mother, while her mother never really had an adolescence and
so at times is a great mother and at other times really just wants to have the teenage-hood that she
never had. The relationship between Lou and Doyle is a catalyst for Lou and Rhia to realise that they
are a family, that they do love each other and that there is a way forward.
“I think that is an experience that’s common to many families and is therefore very moving. Belinda,
Tony, Michael and I set out to make a film that made people laugh and made people cry, and, with
this amazing cast, we’ve got performances which do that.”
LOU is a MATCHBOX PICTURES production, produced with the financial assistance of Screen NSW
through its production investment program and the Regional Filming Fund, Film Victoria, the South
Australian Film Corporation and Screen Australia. Bankside Films is the international sales agent and
Kojo Pictures is Australian/New Zealand distributor.
JOHN HURT as DOYLE
John Hurt, born in 1940 in Derbyshire, is one of the most acclaimed actors of his generation. John
studied acting at RADA and for nearly half a century, he has acted in numerous international film,
television and theatre productions.
Hurt has won Golden Globe (Midnight Express) and BAFTA Awards (The Elephant Man, Midnight
Express, The Naked Civil Servant) and was honoured with two Academy Award nominations for his
performances in The Elephant Man and Midnight Express.
In addition to winning three BAFTA Awards, he has also been nominated for The Field, Alien and 10
Rillington Place. Hurt has also won a Special Teddy at the Berlin International Film Festival (An
Englishman in New York) and was nominated for an Australian Film Institute Award for Best
Supporting Actor for The Proposition, his first Australian film.
Hurt initially came to prominence for his role as Richard Rich in the 1966 film A Man for All Seasons.
Other major film performances include Alien, Nineteen Eighty-Four, Indiana Jones and the Kingdom
of the Crystal Skull, Hellboy, Hellboy II, Scandal, Shooting Dogs, the Harry Potter series , The Hit, V for
Vendetta, Love and Death on Long Island and 44” Chest.
LILY BELL-TINDLEY as LOU
The leading role in LOU is the first on-screen performance for Lily Bell-Tindley, who lives with her
family on the north coast of New South Wales, close to where the film was shot. Lily is from a
musical family and has been performing in school plays and studying drama for several years. Lily
was discovered by LOU casting director Nikki Barrett just weeks before production began.
EMILY BARCLAY as RHIA
Emily Barclay burst to international prominence in the acclaimed New Zealand feature In My
Father’s Den, for which she was named the Most Promising Newcomer at the 2005 British
Independent Film Awards. Emily followed that performance with the Australian feature Suburban
Mayhem, winning Best Actress Awards at the 2006 Australian Film Institute Awards and the Inside
Film (IF) Awards. Emily starred with Richard Roxburgh in the television drama special The Silence
and with Suburban Mayhem co-star Michael Dorman in David Caesar’s most recent feature film
Prime Mover. In 2009, Emily made her stage debut with Company B for Gethsemane, alongside Dan
Wyllie and Rhys Muldoon. Most recently, Emily lent her voice to the animated feature Legends of
The Guardians and returned to the stage in the highly acclaimed season of That Face for Company B
with Susie Porter and Marcus Graham. Emily was born in the UK but grew up in New Zealand.
CHARLIE-ROSE MacLENNAN as LEANNE and ELOISE MacLENNAN as LANI
Charlie-Rose and Eloise, sisters from Sydney, were just 9 and 7 years of age when they starred in
LOU. Charlie-Rose was already a seasoned professional actor and singer, with several appearances in
television commercials and drama series like Out of the Blue and Underbelly. LOU was Eloise’s first
film role, after television commercials and appearances.
DANIELA FARINACCI as Mrs Marchetti
Daniela Farinacci’s incredible performance in the acclaimed feature film Lantana brought her
numerous awards and nominations. In 2001 she won the Inside Film (IF) Award for Best Actress
(shared with her co-stars) and the Film Critics Circle Award for Best Supporting Actress and was
nominated for an AFI Award for the same role. Daniela was also nominated for an AFI Award for her
work in the film Look Both Ways. She has received Green Room award nominations for her stage
performances in Metamorphosis and in Traitors. Daniela has also starred in the telemovie The
Society Murders, the series East West 101 and the film Little Fish.
JAY RYAN as COSMO
Originally from New Zealand, where he appeared in iconic series such as Xena: Warrior Princess and
Young Hercules, Jay established his Australian career with a long-running role in Neighbours. In 2003
he was nominated for a Logie Award for Most Popular New Male Talent. Jay more recently starred in
the popular televisions series Sea Patrol as Billy Webb, aka Spider. From a theatre background, he
has appeared on stage with the likes of John Cleese and toured internationally with the one-man
show The Packer. Jay also starred in the New Zealand series Go Girls.
JONATHAN SEGAT as BLAKE
LOU is the third feature film for Jonathan Segat, whose promising career as an actor kicked off with
featured roles in the recent films Hey Hey It’s Esther Blueburger and My Year Without Sex, as well as
earlier experience as an extra.
WRITER/DIRECTOR/PRODUCER – BELINDA CHAYKO
LOU is the second feature film directed by Belinda Chayko. Her earlier feature, City Loop, premiered
in the Discovery Section of the Toronto International Film Festival and screened at a number of
other festivals. Belinda’s previous short film, Swimming, also screened internationally, and won
numerous awards, including the Grand Prix at the Melbourne International Film Festival. Belinda is
highly regarded as a screenwriter, winning a 2009 AWGIE Award for her screenplay for the telemovie
Saved (directed by Tony Ayres, a fellow producer of LOU). She is also an experienced script editor
and was editorial manager, for ABC TV, for the television series Fireflies. Prior to her screen career,
Belinda was a journalist and editor with the Independent Monthly and the The Sydney Morning
Matchbox began as a loose affiliation of five producers in April 2008 and quickly became a dynamic
national enterprise. The Matchbox partners are Tony Ayres, Helen Bowden, Penny Chapman,
Michael McMahon and Helen Panckhurst. Between them they have a wide range of experience in
feature films, television drama, comedy and documentaries, as well as entertainment law and
broadcasting. In 2009, they produced the 13-part children’s series My Place; Anatomy 2, a
documentary series for emerging auteur directors; and LOU. Matchbox was also one of the first
eleven companies in Australia to be awarded Enterprise funds by Screen Australia.
Their aim is to work with Australia’s most outstanding screen talent to create world-class film and
television. They have offices in Sydney and Melbourne.
PRODUCER – TONY AYRES
Tony Ayres has become a prolific producer of film and television, building on his reputation as one of
Australia’s leading writer/directors. The 2007 feature film he wrote and directed, The Home Song
Stories, premiered at the Berlin International Film Festival and won Best Direction, Best Screenplay
and Best Lead Actress (for Joan Chen) at the 2007 AFI Awards. The film also won five Inside Film (IF)
Awards. His first feature, Walking On Water, won the Teddy Award at Berlin in 2002, five AFI awards,
two Australian Film Critics Circle Awards and an Inside Film (IF) Award. Tony is also one of Australia’s
most sought after script editors. His recent producing credits include the comedy series Bogan Pride
and the arts documentary series Anatomy, both for television.
PRODUCER – HELEN BOWDEN
Helen Bowden is a producer of features, shorts, television drama and documentaries. LOU is her
third feature film. Her 2006 documentary Girl in a Mirror was the first Australian film ever to win a
prestigious Rose D’or Award at Montreux. It also won a number of Australian documentary awards.
Helen’s first feature, Soft Fruit, screened in Critics’ Week at the Cannes International Film Festival in
2000, won the Critics’ Prize at the San Sebastian International Film Festival, the Special Jury Prize at
Torino Film Festival and was selected for Sundance in 2000. Helen is currently developing an
adaptation of The Slap for ABC TV and she is the Managing Director of Matchbox Pictures.
PRODUCER – MICHAEL McMAHON
Michael McMahon was an entertainment lawyer before moving into producing. He has extensive
documentary experience, having produced Whatever Happened to Brenda Hean? in 2008 and three
AFI Best Documentary Award winners: Wildness (2003); Thomson of Arnhem Land (2000) and
Sadness (1999). All of these have won numerous other awards nationally and internationally.
Michael was executive producer of Man Made – The Story of Two Men and a Baby, which was
nominated for a 2004 Logie for Most Outstanding Documentary. He has produced a number of
dramas, including Saved, a 2009 telemovie for SBS TV, written by LOU writer/director Belinda
Chayko. Michael also produced a 2007 telemovie for SBS, Call me Mum, and, with Liz Watts of
Porchlight Films, the acclaimed feature film The Home Song Stories. In 2008 he also produced Bogan
Pride and Anatomy.
EXECUTIVE PRODUCER – LIZ WATTS
Liz Watts is an independent producer and principal director of Porchlight Films, based in Sydney.
Porchlight has a reputation as a dynamic, independent company, producing award-winning feature
films, television dramas, documentaries and short films since 1997.
Liz’s latest film, Animal Kingdom, was acclaimed when it premiered recently at the 2010 Sundance
Film Festival, winning the dramatic jury prize. Liz produced, with Michael McMahon, The Home Song
Stories, and the feature films Little Fish and the Tony Ayres-directed Walking on Water. Liz has also
produced a number of short films, short features and documentaries.
DIRECTOR OF PHOTOGRAPHY – HUGH MILLER
Hugh Miller is a highly accomplished cinematographer who works across feature film, television
drama, documentaries, high-end commercials and music videos. His recent feature film credits
include Prime Mover, Two Fists One Heart, Three Blind Mice, The Bet and Solo. His many
documentaries include several for National Geographic, such as Miracle on Everest and Dead Lucky,
and the highly regarded series Bush Mechanics. He has shot music videos for some of Australia’s top
acts including The Presets, Kasey Chambers and Cat Empire. Hugh has won several Australian
Cinematographers’ Society Awards, including a Gold award for the Killing Heidi clip Calm Down. He
also won the Tropfest 2003 Award for Best Cinematography for Lullaby.
PRODUCTION DESIGNER – PETE BAXTER
Pete Baxter was production designer of the feature films The Waiting City, which premiered at the
Toronto International Film Festival 2009, The Tender Hook and Lucky Miles, as well as the award-
winning short films The Djarn Djarns and So Close to Home. Pete also worked in the art department
on the features The Bank, Paws and Kick.
COSTUME DESIGNER – VIRGINIA COOK
Virginia Cook is based in the US where she has worked as costume designer or assistant costume
designer for directors including Hal Hartley (The Girl from Monday, Fay Grim), Richard Laxton (An
Englishman in New York – which also stars John Hurt), Steve Buscemi (Interview) and Tom DiCillo
(Delirious). Virginia credits also include New York City Serenade, The Sexton’s Wife and The
EDITOR – DENISE HARATZIS
Denise Haratzis is one of Australia’s top editors of film and television drama. She won an AFI Award
for Best Editing for The Home Song Stories and was nominated previously for Look Both Ways, So
Close to Home and Me Myself I. She won the Film Critics Circle of Australia editing award for Look
Both Ways, was nominated for The Home Song Stories and won the Inside Film (IF) Award for The
Home Song Stories. Denise also edited the recent feature films Closed for Winter¸ starring Natalie
Imbruglia, My Year Without Sex and The Illustrated Family Doctor, as well as some of Australia’s
finest television dramas of the past decade - including Love My Way, Rain Shadow and The Secret
Life of Us. Her many other credits include Heartbreak High, Love Serenade and Dead Letter Office.
COMPOSER – GLENN RICHARDS
Glenn Richards is the singer and songwriter for one of Australia’s finest bands – Augie March – and
he is responsible for penning such classics as ‘One Crowded Hour’, ‘There Is No Such Place’ and
‘Asleep In Perfection’.
With Glenn’s distinctive voice, his sharp, literary lyrics and the band's off-kilter rock 'n' roll, Augie
March has become a major Australian band over the past 12 years, bringing it multiple awards,
taking it around the world and attracting an ever-increasing and loyal fan-base in Australia and
Over Augie March’s four album releases, the band has been nominated for thirteen ARIA Awards
(victorious in one) and picked up an AMP (Australian Music Prize), while Glenn has been awarded
two APRA Awards – Song Of The Year for ‘One Crowded Hour’ and Breakthrough Songwriter.
The soundtrack to LOU is Glenn’s first foray into feature film.
SOUND DESIGNER – LIAM EGAN
Liam Egan is one of the top sound designers in Australia, with more than 20 feature films to his
credit, including the recent Samson & Delilah, Hey Hey Its Esther Blueberger, Prime Mover, The
Tender Hook, Suburban Mayhem, Ten Empty and Clubland. Liam has been nominated for nine
feature film AFI Awards, winning two, and has won three Australian Screen Sound Guild awards.
John Hurt Doyle
Lily Bell-Tindley Lou
Emily Barclay Rhia
Charlie-Rose MacLennan Leanne
Eloise MacLennan Lani
Daniela Farinacci Mrs Marchetti
Jay Ryan Cosmo
Jonathan Segat Blake
Damien Garvey Colin
Logan Reilly Jock
Written & Directed by Belinda Chayko
Produced by Helen Bowden & Michael McMahon
Produced by Tony Ayres & Belinda Chayko
Executive Producers Phil Hunt & Compton Ross
Executive Producer Liz Watts
Co-Producer Elene Pepper
Director of Photography Hugh Miller
Editor Denise Haratzis ASE
Production Designer Pete Baxter
Costume Designer Virginia Cook
Original Music Glenn Richards
Sound Designer Liam Egan
Casting Nikki Barrett - Barrett Casting
UK Casting Gary Davy – Gary Davy Casting
Production Manager Nicki Ellis
Production Co-ordinator Alex Fewster
Production Runner Alison Pickup
Producers’ Assistant Natalie Palomo
Producers’ Assistant Jack Haycox
Producers’ Attachment Anusha Duray
Mr Hurt’s Driver Deb McBride
Lou Stand-In Shoshannah Zettel
Production Accountant Belinda Roberts
Post Production Accountant Jill Dures
1st Assistant Director John Martin
2nd Assistant Director Angella McPherson
3rd Assistant Director Maree Cochrane
Continuity Victoria Sullivan
Second Camera Murray Lui
Focus Pullers Kevin Scott
Clapper/Loader Steven Magrath
Camera Attachments Brydie-Lee Sheen
Gaffer Steve Monk
Best Boy Electrics Jonathan Martin
Electrics Peter Critchley
Key Grip Martin Fargher
Best Boy Grip Carl Mullin
Sound Recordist Paul ‘Salty’ Brincat
Boom Operator Ben Wyatt
Location Manager Annelies Norland
Set Decorator Christopher Bruce
Buyer/Dresser Fiona Gough
Standby Props Harry Zettel
Art Department Co-ordinator Susan Wiley
Art Department Assistant Jodie Cooper
Hair & Makeup Supervisor Wizzy Molineaux
Hair & Makeup Artist Anita Morgan
Costume Standby Flip Wootten
Costumes for Emily Barclay Terri Kibbler
Special Effects Supervisor Clint Ingram
Special Effects Technicians Steve Rungwerth
Unit Manager Will Matthews
Unit Assistant Richard Olsen
Security Simon Van Oorde
Safety Supervisor / Stunt Co-ordinator John Walton
Unit Nurse Julia Watt
Drama Coach Alexandra Schepisi
Tutor Madison Loch
Caterer Geoff Butler
Butler’s on Location
Casting Assistant Danielle Long
Extras Casting Anusha Duray
Stills Photographer Mark Rogers
Publicist Tracey Mair
EPK Camera/Editor Andrew Bambach
Post Production Supervisor Maryjeanne Watt
Assistant Editors Ceinwen Berry
Offline Edit Facility Music and Effects
Violin Naomi Evans
Pedal and Lap Steel Guitars Graham Lee
Piano Kiernan Box
All other instruments Glenn Richards
Music Studio Woodstock Studios
Music Mixer Robin Mai
Additional Music Mixer Glenn Richards
Sound Supervisor Liam Egan
Re-recording Mixer Peter Smith
Dialogue Editor Martyn Zub
Effects Editor Tom Heuzenroeder
Foley Artist Adrian Medhurst
Foley Engineer Russell Alexander
Sound Post Facility Oasis Post Australia
Studio Producer Nicola Tate
Dolby Mixing Theatre South Australian Film Corporation
Mix Assistant Adrian Medhurst
Dolby Consultant Bruce Emery
ADR Facilities Goldcrest Post
Tracks Post Production
Music and Effects
Post Production Facility Oasis Post Australia
Head of Film and Television, Oasis Post Dale Roberts
Head of Post Production, Oasis Post Kate Butler
DI Colourist Marty Pepper
DI Conformist Jade Robinson
DI Assistant Sam Matthews
Digital Neg Reports Mark Machin
VFX Compositor Tony Bannan
Film Recording Facility Weta Digital
Film Recording Manager Pete Williams
Film Recording Supervisor Nick Booth
Film Recording Technicians Daniel Ashton
Laboratory Services Park Road Post Production
Laboratory Operations Manager Brian Scadden
Laboratory Post Production Supervisor Martin Edwards
Park Road Post Coordinator Lauri Sharp
Titles Design Plus Films
Post-production Script Clever Types
Camera Equipment Hire Kojo Pictures
Managing Director Kent Smith
Equipment Coordinator Craig ‘Rags’ Phillpot
Cast Vans Empire Film Services
Legal Advisor Marshalls & Dent
Insurance Holland Insurance
Completion Bond FACB
Performed by Kahurangi Maori Dance Ensemble
From the album ‘Kahurangi Maori’
Courtesy of Arc Music Productions International Ltd
‘Asleep in Perfection’
Written by Glenn Richards
Published by Sony/ATV Music Publishing Australia Pty Ltd
Performed by Augie March
Licensed Courtesy of BMG Australia
Glenn Richards Original Music
Published by Sony/ATV Music Publishing Australia Pty Ltd
Recording Licensed by Sony Music Entertainment Australia Pty Ltd
Written by Olivia Waithe, Eliseus Joseph Jnr & Julian Griffith
Performed by Livvi Franc
Published by Sony/ATV, Eliseus Joseph Jnr/BMI & Julian Griffith/BMI
Licensed Courtesy of Sony Music Entertainment Australia Pty Ltd
‘Ends in Tears’
Written by Jason Matheson
Performed by Thujone
‘Don’t Get Me Wrong’
Written by Jason Matheson
Performed by Thujone
Thujone Songs Courtesy of the Family of Aryn Perger
Additional Music from Audio Network
Special thanks to
Rennie Chayko, Wendy Chayko, Jerome Manceau, Anwen Rees-Myers, Polly Staniford,
Jonathan Ogilvie, Needeya Islam, Fay Chappell, Judy Kingston, Ian Kingston, Amelia Kingston, Olivia
Kingston, Laura Mattocks, Greg Savage, Judith Magee, Philip Carr, Selma Kingston, Tiffany Mayfield,
Anna Gibbs, Lydia Livingstone, Wendy Grace, Alison Flynn, Grahame Huntingford, Lorraine
Huntingford, Robyn & Norm Watson, Warren Keats, Glenn Baker, Paul Burke, John Meadowcroft
Ross Matthews, Scott Meek, Nerida Moore, Ashley Luke, Megan Simpson Huberman, Heather
MacFarlane, Jenni Tosi,
Lindsay Lipson, Victoria Pope,
Susan Boehm, Independent Film Week: No Borders
Jill Moonie, Northern Rivers Screenworks
Barbara Allen, Tweed Shire Council
Tony and Robyn Scibilia
The Murwillumbah Police Station
Byron Premium Ale
Cabarita Surf Life Saving Club
Cancer Council NSW
Pan MacMillan Australia
Penguin Books Australia
Westpac Banking Corporation
(TV) Footage courtesy of
Big and Little Films & Scott Millwood
Cordell Jigsaw & Michael Cordell
Filmed entirely on location in Murwillumbah & Cabarita Beach, NSW
Thanks to those who appeared
Des Anderson, Katrina Ball, Chad Beckett, Gary Belcher, Telia Bergin, Phil Biggar, Danielle Bowern,
Michelle Bramwell, Rennie Chayko, Sam Cook, Rosemary Cooper, Christopher Crane, Steve Dale, Jay
Defreitas Birch, Craig Donnelly, Verity East, Ellis Fisher, Nicholas Fuad, Casey Fuller, Bianca Fusarelli, Jenny
Garrett, Jessica Gilfillan, Christina Gobet-Freeman, Tameka Green, Morgan Hails, Taylor Hails, Jack
Hanson, Robert Hanson, Jason Hill, Jacob Howell, Kristy Howell, Kristy-Louise Howell, Luke Howell, Dale
Kelly, Samantha King, Billi Lanksy, Madison Loch, Lana Macedone, Duncan MacLennan, Hamish
MacLennan, Roary MacLennan, Ricky McCarron, Billie Nasveld, Jo Nasveld, Amber Parker, Christian
Pavlovic, Sam Pickup, Susan Pickup, Hannah Raftery, Patrick Raftery, James Rowse, Emma Schooley,
Jasmine Sims, Kaleb Sims, Brownyn Thomas, Kai Walker, Rachel Walker, Brenton Whittle, Angelina Wilson,
Jared Wilson, Keith Wilson.
Headgear Films & Metrol Technology
World Sales Bankside Films
Australasian Distributor Kojo Pictures
World revenues collected and distributed by
Fintage Collection Account Management BV
PRODUCED WITH THE ASSISTANCE OF THE SOUTH AUSTRALIAN FILM
DEVELOPED AND PRODUCED WITH THE ASSISTANCE OF FILM
DEVELOPED AND PRODUCED WITH ASSISTANCE FROM SCREEN NSW
AND ITS REGIONAL FILMING FUND
A Big and Little Films production for
DURATION: 82 minutes
RATIO AVAILABLE: 16:9 1.185:1
SHOOTING GAUGE: High Definition
FINISHING GAUGES: 35MM
HDCAM SR(PAL & NTSC)
DIGITAL BETACAM (PAL & NTSC)
B & W OR COLOUR: Colour
SOUND: Dolby 5.1 Surround Sound