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A man's gotta do
A film by Chris Kennedy

Writer/Director/Producer Chris Kennedy Producer John Winter
Starring John Howard Rebecca Frith Alyssa McClelland Gyton Grantley

Rating: M

Running Time: 89 minutes

Release Date: November 4, 2004

For all publicity inquiries please contact Sally Steele 02 9319 0233

A man's gotta do The Cast

Eddy Yvonne Chantelle Dominic Delores Paul Dr Savage Tina Sylvia Josephina Rudi Young Doctor Police Officer Nigel Photographer Svetlana

John Howard Rebecca Frith Alyssa McClelland Gyton Grantley Amie McKenna Rohan Nicol Tony Barry Helen Thomson Jo-Anne Cahill Lynne McGimpsey Manuel Terron Nicholas Brown Grant Bennett Rowan Jackson Robyn Ormiston Vasa Gavriloska

The Filmmakers Writer/Director/Producer Producer Director of Photography Editor Production Designer Costume Designer Composer Casting Director Chris Kennedy John Winter Kim Batterham Emma Hay Elizabeth Mary Moore Jane Johnston Peter Best Christine King


A man's gotta do marks the second collaboration between writer/director/producer Chris Kennedy and producer John Winter. Their first feature together, Doing time for Patsy Cline in 1997, starring Miranda Otto and Richard Roxburgh, received great acclaim both in Australia and overseas, winning Best Original Script at the Australian Writer's Guild Awards and San Diego Film Festival as well as five Australian Film Critic Awards and four AFI (Australian Academy) Awards from ten nominations which included Best Director, Best Film and Best Actor. A man's gotta do is an Australian story about the universal condition. Some men run from their responsibilities like cowering dogs, some men even jump off the gap, but most men hold their head high, put their backs to the wall and do what they must to give their family what they want. This is the story of one such man. Better still, one such person.

The essence of A man's gotta do
There are types of people in the world who must have things the way they want them and then there are those who are willing to go along with what they get. Life is like a jigsaw puzzle that you are trying to put together on the top of a defective washing machine and you can sort it and get it all about right for a precious moment, then suddenly the washing machine will start shaking and it will all go to hell in a hand basket again. I think at the end of this film Eddy has managed to get all the pieces in the right place for a couple of hours but we know, and he knows, that the washing machine is still rocking and the next jumble is just around the corner. Chris Kennedy Writer/Director/Producer


Synopsis - In a nutshell
Eddy does what he has to do to give his family what they want. For the last 25 years, he has secretly moonlighted as a "standover" man, purely to provide his aspirational wife with her dream house and a privileged upbringing for his only daughter. Eddy finds it hard to express how he feels, especially now that his "little girl" is engaged and will soon be leaving the family home. Chantelle believes her emotionally blocked father has only two feelings "angry" and "very angry" and feels her father just doesn't understand her. Eddy is perplexed: "What's to understand?" Herein lies the problem. Over eager to get on the same wavelength as his daughter and recapture the closeness they once had, Eddy starts reading Chantelle's diary. In the process, more secrets than anyone was prepared for, begin to surface with devastating yet hilarious results. Eddy rides the storm and once the dust settles, all is well... for now.

Fathers and Daughters "I have a couple of daughters but they are younger - so it was based on fear of the future and information from friends that have older daughters. Apparently there are years from the late teens to mid-20s for fathers and daughters that is a time fraught with misunderstanding - tears and grief - but it is a hilarious time to look at from the outside." - Chris Kennedy "Chantelle's forever challenging Eddy - she's the one person who can and who does. He might be the tough guy but she's got him wrapped around her little finger. Whilst she has a youthful exuberance that she expresses through her music and her diary, Eddy's a man who's not used to expressing feelings - a man of few words. But if he wants to get closer to his daughter and figure out what's going on inside her head he's got to open up. The film explores that journey." - John Winter, Producer "There's a lot of Eddy in Chantelle. She's a woman with whom you would not fool around. She's quite happy to shoot your balls off if she doesn't like you and I think that that makes his need to understand her much greater. He is much closer to his daughter than he is to his wife" - John Howard " Chantelle is 20 and about to marry and fly the coop so there's that whole independence issue happening with her father where she feels like" don't tell me what to do but be there for me" - Alyssa McClelland


Full Synopsis
Eddy (45) has a fish trawler, a beautiful home with as many state-of-the-art appliances as it can hold, a glamour-puss wife, Yvonne (39 ½) and a daughter, Chantelle (20) who has body issues, plays the guitar and is engaged to be married to a Russian air-conditioning specialist. All seems pretty normal, except Eddy is really a stand-over man, Yvonne is flirting with Paul the plumber and Chantelle's fiancé, Rudi, has gone AWOL with the wedding looming. Into this mix arrives Dominic (22), Eddy's naïve new assistant on the fish trawler and new muscle (his former strong-arm man Nigel got both his legs broken). The nuclear family is disintegrating and Dominic suggests Eddy should try and understand his daughter. Eddy accordingly decides to read Chantelle's diary or rather gets Dominic to read it to him. Eddy notes his daughter's fears and desires and acts accordingly. Whatever Chantelle wants Eddy seems to anticipate. Chantelle is longing to find Rudi and not even her girlfriend, Delores, has any idea of what's become of him. But strangely Dad seems to understand her. With Yvonne battling her biological clock, Eddy decides it is easier to have a vasectomy than avoid her baby-fueled advances. Desperation sends Chantelle to the local fortune teller whose riddles begin to come true just as Chantelle begins to suspect her Dad is reading her diary. She sets a trap and Eddy takes the bait. Delores also decides to tell a few home truths about Eddy's night-time activities; he's really a petty criminal. But where is Rudi? Never one to avoid confrontation, Chantelle barges in on Eddy only to find him canoodling with Silvia, a fish worker. Chantelle races home to tell her mother but walks in on an amorous embrace between Yvonne and Paul the plumber. Feeling her home life is disintegrating before her eyes Chantelle becomes more determined to find Rudi. Now a loose cannon, Chantelle starts using the diary to her advantage. Eddy finds out that Yvonne is pregnant. Suspicion lands on none other than Paul the plumber. Eddy sets about revenge. Everyone is still at a loss to locate the elusive Rudi. As a last resort, Dominic suggests a trip to the fortune teller. Money well spent. Rudi is located in bed with Delores. Vengeful Chantelle demands Eddy kill them both, he refuses and in the struggle a fleeing naked Rudi gets shot. Heartbroken - Chantelle's forlorn songs fill the house so Eddy hatches one last plan. He tells Dominic to take Chantelle out - give her a good time - but not to touch her!! Chantelle isn't interested until Eddy forbids her from dating Dominic. Defiant as ever Chantelle falls for Dominic hook, line and sinker. Yvonne announces tearfully that her pregnancy was a false alarm. Too late for Paul who has had his wedding tackle embedded in cement. Eddy realises the importance of love and family and gets his 'tubes' put back. Family life is finally beginning to look pretty good until Chantelle overhears her Dad tell Yvonne that he played cupid, and orchestrated the whole Dominic thing. Chantelle is furious and cuts Dominic off. Then Chantelle tells her parents that she's pregnant! Eddy is livid and takes Dominic for a little walk on the beach. Dominic fearing his end is nigh hits Eddy on the head. Everyone ends up in hospital. Eddy 'unconscious' overhears Chantelle confessing her confusion about the whole notion of romance and life. She loves Dominic but what to do? Eddy visits the fortune teller one last time, pays her to give Chantelle the right riddle and suddenly there are wedding bells in the air. As a present, Eddy gives Chantelle a new diary with a golden key and secretly the same key to Dominic. But Dominic discards his in wet cement and true love triumphs. The wedding ceremony finds Chantelle, Yvonne and Delores all pregnant together. What a sight. Eddy sheds a tear.


What a producer's gotta do
From Script to Screenplay
"The script was so 'Chris', full of his dry wit." Inspiration for the main character came many years ago as Chris Kennedy explains, "I remember years ago at my sister's 2First birthday party, her Irish boyfriend and I were chatting and he said he was going to Melbourne. Innocently I asked, 'What for?' and straight-faced he said, 'Well I get there around 3:00 am go see a bloke who owes a bit of money, we make him give us the money and we come back to Sydney.' All I could say was, 'Ah that's very good' It had never crossed my mind that people did that sort of work, you know demanding money with menaces." Having enjoyed working together on Doing time for Patsy Cline, Chris Kennedy was keen to show John Winter his first draft of A man's gotta do. When John first read the script in 1999 he was immediately interested in the project. He describes his first impressions: "The script was so Chris, very funny, full of his dry wit and the characters were great." Throughout the drafting process the story transformed from a Sopranos/Goodfellas type story about a guy called Rocco, to having a distinctive Australian flavour with the lead renamed Eddy. According to Chris the story began to naturally transform into an Australian story. "I know more about Australians than Italians so I changed it." He continues, "I am changing stories all the time. If we were shooting the film three months from now it would be a very different film again." Financing any Australian film in the current climate requires perseverance and flexibility according to John Winter. Determined to make the film possible, both Chris and John investigated different options and eventually found an opportunity to make the film on a tighter budget. In order to mesh with the finance option, Chris returned to writing and tightened up sections of the script. Despite the impetus being budgetary, both John and Chris were delighted with the result as John observes, "Although Chris went back to tightening up the script for budgetary reasons what actually happened was that the whole script just got better and better." With Australian film distributor Hopscotch and overseas sales agents The Works on board the ball started rolling.


Locating the Hero House
"How about moving the shoot?" Finding the perfect housing development to the desired scale and within easy travelling distance of Sydney was proving a headache for producers John Winter and Chris Kennedy. On the return to Sydney from a camping trip John Winter glimpsed a location that prompted him to call Chris with a radical idea. How about moving the shoot two hours south of Sydney to the Illawarra Region? Chris' trademark enthusiasm was followed by the killer question, "Do we have the money?" to which John replied, "Well... no not yet." John immediately approached The New South Wales Film and Television Office who were already involved and filed a request for extra investment with their regional filming grant division. Meanwhile Film Illawarra began to scout for locations. Luckily for John Winter, financing and locations just fell into place. "The two just came together at the same time. All of the right locations appeared and the scale and breadth of the film started to expand." The most important location was of course the hero house, which had to epitomise the Australian dream. Chris and John found the perfect house on a hill in a new development near Wollongong in a small town called Shellharbour. Their challenge was to persuade the young couple that had spent two years designing, building and furnishing their "dream" home and had only just moved in, to allow a film crew in for eight weeks. John Winter comments, "It could have been difficult persuading them to allow us to come in, change the original colour schemes and generally take over but they were wonderful, they made it all so easy." In fact, the couple got on so well with the crew and designer Elizabeth Moore that they enlisted her expertise to redesign their colour scheme when the house was handed back. Although the house fulfilled the majority of the script's criteria there were no new houses being built around it. This sounded alarm bells to producer John Winter but once the owners, designer and DOP were on board, new houses suddenly started being built all around the hero house, which as producer John Winter says "was not great for the sound dept but fantastic for the looks department."


Casting the net to find the characters
"The script is just a road map." Enlisting the help of Christine King, Australia's top casting director and using producer John Winter's house as studio, the search for the characters began. John Winter says, "We were fortunate that we weren't tied into having to cast the film before the financing was tied in. That really gave us a lot more freedom."

Eddy When it came to the role of Eddy, Chris knew he needed someone who could give this larger than life character real depth. After passing John Howard on a moving escalator Chris Kennedy wrote asking if he wanted to read the script. John Howard was attracted to the script straightaway. "Chris is a very good storyteller - and has a very amusing and ironic sense of humour - the characters were very clearly written and it was a ready-made film which is not normal - you know it just made me laugh." John invited Chris round for a cold beer and a chat and during that meeting Chris realised he had found his Eddy. "As soon as I met him I had a feeling. I realised how big he was and how imposing he was and slowly but surely he started to bring his character to it," says Chris Kennedy. This is echoed by John Winter: "He is so the actor to play Eddy." "He's a pretty interesting man; a combination of his philosophical approach to life, his methodical approach to life and his night-time job as a stand-over man. Frankly I am a shithouse fisherman but I am something of a philosopher so I guess that side is closest to me. I like playing a character like Eddy who stumbles through life." - John Howard

Yvonne - Eddy's wife Yvonne is the one person that Eddy is afraid of as Chris Kennedy explains, "Eddy can go out and cut someone's toes off without thinking about it but there's one person that's got him running scared and that is his wife." He continues, "When Yvonne says things like 'If you walk upstairs with those fishy boots on you're dead!' and 'If you're breaking your diet after all the money I've spent I'm going to murder you!' you have to believe it!" Rebecca Frith was one of the first actresses Chris called in for an audition after remembering her standout performance in Love Serenade that won the Camera D'Or at Cannes. As producer John Winter elaborates, "When Rebecca came in for a screen-test and did a monologue that Chris had written at the end of it we just knew she was our Yvonne." "When I read the script I had just seen 'Chicago' and I kept calling her Mrs Cellophane as she is at this point of invisibility. It's really interesting to play comedy when the character is at a point when she feels empty and disregarded. I was so happy to finally get the chance to work with John Howard. It's been a real inspiration being with him every day on set." - Rebecca Frith


Chantelle - Eddy's daughter In the original script the character of Chantelle was overweight and unattractive so when beautiful, young actress Alyssa McClelland was suggested Chris Kennedy was hesitant however her audition tape clinched it as Chris describes, "There was something about Alyssa that I couldn't get out of my mind - I could keep going back to her tape and find something I'd get amusement out of - essentially regardless of how she was emotionally - sad or angry. I just couldn't help laughing at her." On the strength of Alyssa's performance Chris Kennedy changed his character of Chantelle completely - which had a knock-on effect on other characters such as her friend Delores, her fiancé Rudi and so on. Chris Kennedy explains, "You really have got to be sufficiently flexible to let that happen. Years ago when I made my First movie I probably wouldn't have, because you're hanging on desperately to the script and you think if this changes, all the dominoes are going to fall down. But now I'm just more willing to let the dominoes just fall and ill see if I can pick them back up. The script is just a road map as far as I'm concerned." "Chantelle is very feisty very ballsy, in fact she will tell anyone what she thinks without censoring herself. I love that because I am not at all like that." - Alyssa McClelland

Dominic - Eddy's right-hand man For Gyton Grantley being told he had an audition with the director of Doing time for Patsy Cline and the producer of Rabbit-proof fence was in itself rather nerve-wracking. However having the auditions at John Winter's house made a welcomed change as Gyton describes, "It made it a lot more comfortable really - you didn't have to go to a big studio with lots of other people waiting and get all nervous." Gyton had been working on another job and had not been able to learn his lines very well, however this did not waiver Chris from choosing him for the role. When Gyton heard he had been given the part of Dominic he was as he describes "blown away! I was so excited, especially at the opportunity of working with John Howard." "Dominic is naïve. He's a lost soul. He grew up out of town with his 5 sisters and his Nan - so it's hard being thrown into a tough industry - such as the steel mills then into the fish markets. He's got a lot to learn so I thought that was really exciting and provides for a good journey." - Gyton Grantley In John Winter's words, "Gyton just became Dom and Alyssa just became Chantelle or 'Shonny' as she is affectionately known by the crew. The film was made for them or they were made for the film."


About the Look of the Film 110%
Chris Kennedy's last film Doing time for Patsy Cline was shot by Andrew Lesnie who has since gone on to shoot the award winning Lord of the rings, so when it came to finding a Director of Photography for A man's gotta do, Chris asked Andrew for advice. He recommended Award - winning Director of Photography Kim Batterham (One night the moon) and immediately Chris felt at ease: "Kim's the perfect man for the job, we're simpatico. He's fast and emotionally composed and we collaborate well together. He is happy to sit and talk about the next day's filming all night." When describing the look of the film, producer John Winter says, "The film has its feet in reality but a stylised head - we were wanting to push reality to 110%." Kim Batterham, DOP elaborates, "The art direction is fairly strong, Eddy and Yvonne have constructed this artificial world in the house and the suburbia is an extension of that. So with the exteriors I wanted the film to have a slightly softer feel to it - to be reasonably modelled not too glossy but more modelled than reality." Production designer Elizabeth Moore was immediately drawn to the script, which explored a socio-economic level that, in Elizabeth's opinion had never been portrayed in Australian film. Eddy and his family are as she describes, "Not quite nouveau riche but a certain level of middle class." This factor combined with the underclass element of Eddy's night job created "a kind of mafia - flavour with a clean suburban front to it - that really attracted me because it had a certain dichotomy to it." When talking about the colour palette for the film, the rich colours of William Morris influenced both Kim Batterham and Elizabeth Mary Moore. With further research they both realised that in fact William Morris's main inspiration was gothic tapestry. For both it was a surprise to discover that with A man's gotta do they were in fact creating an Australian gothic tapestry. Shooting in industrial Wollongong and Port Kembla made recreating Eddy's worlds of the steel mills and the fish markets relatively easy, as Elizabeth explains. "We were very fortunate that these settings in Port Kembla and Wollongong were very rich and very layered in themselves so really it was just about teasing out certain elements."


Designing the "hero" house
No fighting the marble staircase With the "hero" house the decisions of the art department were often dictated by the location as Elizabeth says, "The house is such a strong statement in itself so you really have to work with it - you couldn't fight the inherent architecture like the marble staircase etc. - you just go with it." The house had strong terracotta tiles throughout so the art department set about creating contrasts with lots of green and blues and dashes of purple. Close collaboration with Kim Batterham the DOP was crucial for Elizabeth, "Working closely with Kim the DOP was important in terms of the warm and cool colours and how we could create depth in the house and contrast for the actors." Although the design of the house had to reflect Yvonne's aspirational nature and obsession with interior magazines and home design trends, Elizabeth was keen to avoid superficial fashion statements. "It was important to me to keep the humanity of it - so that Yvonne never felt like a cliché we had to really like her like what she had done to the house." In the design of Chantelle's room Elizabeth wanted to capture the essence of a young girl on the brink of adulthood yet still living at home. Once again, it was crucial to avoid design that would alienate Chantelle's character from audiences. "I didn't want to make her a princess - didn't want that to be something the audience didn't respond to - you always have to feel her plight. We wanted to feel that the room had compressed energy of that age," comments Elizabeth Moore. In the film Eddy and Yvonne have slept in separate bedrooms for years with Eddy and his smelly fishing gear relegated to a room next to the garage. Elizabeth Moore talks about the importance of this room clashing with the rest of the house. "It's a room that doesn't have anything in it - it's the bare minimum of what you would need - a bed, sheets a light and a clock - whereas Yvonne's world is so much about comfort and decoration that I felt it needed to have that masculinity that it was just the basics - camping out inside."

Designing the Costumes
"Looks so fishy you can smell it." In terms of costume, Jane Johnston, costume designer, was keen to reflect the individual journeys of the female characters through their wardrobe. She explains, "With Yvonne we started off with strong, bold colours, reds and pinks which scream for attention and progressed to softer colours, yellow and blues as she became more comfortable with herself." With Chantelle's wardrobe it was important to reflect a girl who at first is rather insecure about her body. In addition, Jane Johnston wanted to portray a girl on the cusp of leaving the family home and becoming an independent woman. "By the end of the film," continues Jane Johnston, "Chantelle is wearing clothes that fit her body better rather than hiding behind them as she becomes more of a woman." For Eddy it was more about distinguishing between his three looks; his "standover" man wardrobe and the "family" man look and the "trawler" look comprising of boots, shorts and vest top which as Jane Johnston said, "Looks so fishy - you can smell it."


Getting Plastered
"Production Designers hate me." Despite the healthy production design budget, writer/director Chris Kennedy chose to make several of the major props. At the beginning of the film the audience finds out that Eddy's previous sidekick Nigel has had both his legs broken. This called for Rowan Jackson who plays Nigel to have leg plasters for the duration of the film. Chris enlisted the help of his physiotherapist wife Kathy, with experience plastering broken limbs. Chris Kennedy explains the process, "Production designers hate me. I love making my own props. I invited Rowan Jackson (Nigel), to afternoon tea one Sunday. Kathy and I plied him with alcohol, stripped him to his underpants lay him down on the kitchen table and plastered his legs from ankles to thigh. Then we cut the plasters off carefully so they could be re-attached on the day." On the day Kathy Kennedy arrived at 4:00 am to reattach the plasters. Once attached Rowan couldn't bend his legs and was "put" in the back of a station wagon when he wasn't needed on set. The leg plasters also prevented Rowan from eating or drinking all day as "relieving" himself would have required their removal. The prop making became very much a family affair, with Chris Kennedy's father being brought in to make the concrete ball that "houses" Paul the Plumber's private parts. A dental technician by trade and a specialist in making body parts like artificial ears, eyes meant that making the concrete ball was a piece of cake, using Chris's daughter's netball and some concrete. The difficult part was explaining the use for the prop as Chris explains, "Although he is not exactly a prude my father is an uptight religious man so he didn't ask many questions about the job order." In a hospital scene we see an X-ray of Paul the plumber's private parts embedded in a concrete netball. This time, everyone was happy that Chris took charge. "The Art Dept let me have that one all to myself. They didn't want to touch it! So I carved a penis from dental denture wax and embedded it in a large ball of dental plaster. Then (after hours!) I took the plaster ball to our local X Ray clinic where the radiologist and I experimented with X ray levels until we got a good picture. The scene always gets quite a laugh in the theatre. The model for the wax carving has asked to remain anonymous."

Finding Eddy's car
"Oh Lord won't you buy me a Mercedes Benz." When it came to finding Eddy's car, the Art Department said again to Chris, "Why don't you leave that to us?" But as Chris explains, "I don't know why. I just love buying cars." Chris felt very passionate about finding the perfect car for Eddy and when he came across the 1973 450SE Mercedes he says, "It was the car." He explains why, "When the 1973 450SE was produced it was the best saloon car in the world. Chocolate brown, sunroof, electric windows. The works. 30 years down the track it was for sale for $3000 in West Epping. I got it for $1800. In an era of fibreglass and plastic and thin-blooded fuel that old tank Mercedes was Eddy." Chris obviously "bonded" with the car onset for when asked what happened to the prop after filming wrapped he smiles broadly and says, "I still own it and drive it to work most days. I love that car! My Children won't ride to school in it. My wife makes excuses to take the Peugeot. And sure. the gear box needs work and it does use more fuel than a Lear jet but hey!"


Stories from the Shoot
"It's like running away with the circus." On 5 May 2003 the shoot in the areas of Kiama, Shellharbour, Port Kembla and Wollongong began and all cast and crew moved into beachside caravan parks dotted around the area. Julianna's International Reception Centre on the main street in Shellharbour, previously host to local weddings and community meetings became home to the production office. Within days, the chandeliers and flower displays made way for computers and cables and the production office team were on first name terms with all the local tradesmen. With most of the locations a mere 10-minute drive from the production office, everyone began to realise what a good idea the move had been. John Winter explains, "What we were able to do in coming down here was to clearly define the different worlds of Eddy and Yvonne. In Sydney there is a tendency to restrict locations because of cost or time, filming down here with the support of the community means that we are actually able to make a bigger film." When it came to choosing accommodation, Chris Kennedy was offered the only two bedroom beachside bungalow. Although Chris initially felt guilty, this feeling evaporated as soon as he realised that he would become host to the daily production meetings and more. In the end, Chris' bungalow became the hub of the shoot. After wrap, the entire cast and crew squashed into the tiny living room, beer in hand to watch the rushes and relax. This was usually followed by one or other departments putting on food and beer at the only local pub. Indeed it was not unusual for departments to challenge each other to weekend bowling championships or for lunch breaks to descend into hilarious cast vs crew hacky-sack sessions. Chris Kennedy expresses his enthusiasm for being on location, "I love it - it's like running away with the circus - there's terrific camaraderie in the troupe, particularly when you have people who all get on well. You spend a lot of your spare time working on the script and the story."

Standing out and fitting in
"I've got one of you at home!" As soon as John Howard took the part of Eddy he leapt into preparation, heading down to the Wollongong area and hanging out with the local fisherman. Chris Kennedy thinks this shows more than just dedication. "I don't think he is doing it just because of the role but because he genuinely likes meeting and talking to new people." This trip to the area gave John Howard very strong ideas about how he should look and before meeting with wardrobe and hair/makeup departments he did his own research. His first stop was a website called where he found "Richard", whose hairstyle and beard were perfect for Eddy. Next, hair and make-up director Sherry Hubbard set about transforming John Howard. Despite the incredible physical transformation to become Eddy, with his short dyed brown crew-cut and beard, sun baked skin, fake tattoos, blue vest top, shorts and workman's boots John fitted right in among the local steel mill workers and fishermen. While shooting at the local hospital where the extras were real nurses, one of them whacked John on the shoulder stating proudly, "I've got one of you at home!" This was in direct contrast to the way John was received on a trip back to Sydney to see the family while still "in character". One of the most standout incidents was at John's daughter school in a beach side Sydney suburb. "Usually I am outside chatting to the parents for half an hour or so but no-one would look me in the eye," says John. When he went into the library to hand back his daughter's books as he did regularly, the librarian ignored him to the point that he was standing waiting to be served for almost 20 minutes while others came and went. It was only when he called out her name that she looked at him shocked apologising for not recognising him such was the transformation. Nevertheless, the crew cut, beard and extra weight, did not stop John being recognised by fans in Shellharbour as Writer/Director Chris Kennedy explains: "I went to the pub and the waitress was just standing there shaking and she says to me in disbelief, 'I've just seen John Howard. He was just standing here buying a beer'. It was extraordinary. People were coming up to him all the time and he would chat away to them. The thing is he actually likes people; he doesn't want to be a big star and hide away in a caravan."

Rain, Rain Go Away

"Hit the deck running." The major test to the crew came in Week Two when the area had the wettest week on record for 40 years, forcing the shoot to go to six days weather cover, which as John Winter calmly puts it was "not good for film-making." John Winter continues, "We had to move inside the house which is all very well but our trucks and trailers and everything else was outside and the crew and the cast were walking in and out of the rain, causing additional headaches for wardrobe and art departments." As the unit location was in the middle of a building site, mud was always a major problem. Jane Johnston, costume designer jokes that at one point the crew talked about having T-shirts printed up with "hit the deck running." With the rescheduling, it was important that the wardrobe dept were prepared to do any scene but as Jane explains this was the moment when a tight-knit crew made the difference. "It's a lovely crew - it's cosy and intimate we're all willing to work hard. It's all about remaining flexible and rolling with the punches." For cast too, the constant rescheduling was a challenge as Alyssa McClelland who plays Chantelle explains, "I had planned it all in my head... Ok that day I'll be doing this scene etc., but it just wasn't like that." As the rain cover rescheduling continued, decisions on the scenes that could be done often came as a bolt out of the blue, Alyssa continues, "One day the First AD said 'Ok Alyssa you have your sex scene tomorrow' and all I could say was 'WHAT! Tomorrow?' but it was good for me to think on my feet and it was challenging to think 'Ok I can do this scene tomorrow.'" In actual fact, the incessant rain forced the crew to shoot one particular scene that was originally scheduled for a dry day. In it, Chantelle and her friend Delores are digging up the backyard desperately looking for Chantelle's fiancé's body. Alyssa McClelland arrived on the flooded set and was sure the scene would have to be postponed, until she saw Chris Kennedy and the First AD talking feverishly. Chris walked towards Alyssa and energetically said, "Let's go for it - I think this scene will be fantastic in the rain." Alyssa, faced with the prospect of being up to her knees in cold wet mud for a few hours was not immediately taken with the idea until she thought about her character Chantelle, "Suddenly I thought, this is so Chantelle. It would show how feisty she is. Nothing can stop her - even four hours digging looking for her fiancé's body in the pouring rain." So they went for the scene - much to the amusement of other cast and crew. John Howard watched the scene unfold, "They (Alyssa and Amie) looked unbelievably pathetic - talk about pathos - it made the scene much more amusing. for us, or rather for me anyway as I was inside!" Throughout this trying time, Chris Kennedy worked hard to keep cast focused and buoyant. Praising Chris's skill as a director Alyssa McClelland comments, "He is such an actor's director he makes himself so approachable and even though there's all this going on around him you know he is there for you." Chris's humour on set was welcomed by all, "He makes things relaxed you know he is a funny, funny man and he is open to suggestions."


Composing the Music
Creating a French-speaking chicken A key contributor was renowned composer Peter Best, with whom Chris had previously collaborated on Doing time for Patsy Cline. He describes his reasons for working with Chris again, "I like working with people who don't necessarily take the obvious path from A to Z. His scripts are complex and witty, even when he's telling a simple story. Chris is also very funny in real life and in a world that contains George W Bush, Tony Blair and John Howard we need a chance to laugh." The major challenge with the music is as Peter says, "To do enough without doing too much", which according to Peter is especially difficult with comedies. He describes some of the music he has created for A man's gotta do, "Often the characters spring out of hilarious comedy into something deeper and more moving so there's a love theme that does double duty for Eddy and Yvonne and for Chantelle and Dominic which at first is comical then fills with genuine yearning." The opening theme proved problematic at first as both Peter and Chris had different ideas on the tone, however one Saturday night Chris Kennedy sat bolt upright in bed with a brainwave marching brass band music! Chris met up with Peter and played the brass band music again and again over the opening image without a word. Chris felt unnerved: "His expression was stone, then he looked at me and I thought Oh *@#& here we go... but all he said was 'absolutely brilliant!'" Of all the music Peter has written for the film he is especially fond of the theme accompanying Eddy's lovemaking scene with Yvonne. He explains his reasons, "It's silly, touching, awful and accompanied by a tender trombone theme. I like the juxtaposition of romance and silly close-ups of drumming feet and straining faces." Chris comments on the collaboration, "Peter is a genius. He has a gift and he's proved it with films all the way from Crocodile Dundee to Muriel's wedding. A composer's work is a scary assignment. The music must be found somewhere between the shoot and the mix. And who says you're going to find it? Sometimes music is a waiting game but you must have confidence in the guy you're waiting with. The great thing about Peter for me is he says, "Don't worry Chris. It's out there. We'll get it!" Collaborating with Chris is not always plain sailing as Peter describes: "Chris asks me for a chicken, and then asks me to make it talk, then asks me to make it talk in French. Sometimes I don't think he needs a chicken, but a sheep." He continues, "Filmmaking is a collaborative process involving a certain amount of friction, without which there would be no heat and no light. Our friendship survives."

Chantelle's Songs "The more seriously Shonny sings those songs the funnier they get." Chantelle's songs are performed and written by Peter's daughter Jordan Best. Peter Best explains how this came about. "Jordan and her sister Blazey were doing a gig at a cafe a couple of years ago and we couldn't find anyone with a video camera to record it. I asked Chris and he came and shot the performance. Some time later he rang me and said that he was working on a script and he wanted to use some of Jordan's song lyrics. The rest is history." Alyssa McClelland who plays Chantelle collaborated heavily with Jordan and worked hard to learn how to play a guitar and sing at the same time even enlisting the help of her rock guitarist father. Chris talks about the importance of the songs in the film, "They work in the same way as Chantelle's diary. It's the outpourings of a young girl's heart. So important for a girl to express and so difficult for a man to understand. Particularly a father." The songs also provide another comic element in the film. Chris comments, "From the first moment I heard them, the songs were hilarious. Even for songwriter Jordan who was living the single girl nightmare they were tongue in cheek. They are meant to be. For every girl, her problems are so unique; meanwhile every girl in the street has the same problems. The more seriously Chantelle sings those 15

songs in the film the funnier she gets. That is the secret to Chantelle - she takes everything so seriously."

Editing Eddy's story
Never underestimate the value of test screenings Editor Emma Hay was immediately drawn to working on A man's gotta do. "I laughed out loud when I first read the script." Chris was keen to have Emma as his editor, "From the beginning I thought this father/daughter relationship would be best understood by a woman." Emma's vast amount of documentary-editing experience proved useful in revealing the essence of the story. "I liked the character of Eddy - he was a real person not a cliché or stereotype and the father/daughter relationship was great. I could relate to Chris' way of telling a story, the music he liked and most of all... his sense of humour." When discussing their aims for the film, Emma and Chris were thankfully on the same page. During the shoot, Chris directed the actors to make sure their delivery of dialogue was punchy, so that the film 's pace would move fairly quickly rather than hanging around waiting for laughs. In terms of collaboration Emma praises Chris Kennedy: "Chris is a great collaborator. While he has a strong vision for his story, being the writer as well, he is open and encourages ideas from others. This is fantastic for an editor - he's is the opposite of 'precious' In fact, the idea of making the photograph 'mistakes' at the end of the film came up when we were editing the last scene - it's a good example of collaboration because that wasn't in the script." Chris Kennedy was determined to make an accessible film with as wide an audience appeal as possible and therefore opted for large-scale audience testing during editing. Chris Kennedy says, "It's a confronting and scary experience. You must develop a very thick skin, but it proved so valuable." The first stop was Homebush Boys High, in Sydney's Western Suburbs where the film in its roughest cut was shown to 160 17-year-old boys. The resulting questionnaires proved so worthwhile that Chris Kennedy was keen to do more. In total 700 people, young and old saw the film and filled in questionnaires. Gradually the film's broad appeal became obvious from the feedback as Emma Hay explains, "Young male adults really seemed to relate to Eddy as a good bloke whose trying to do his best and young females liked Eddy as a Father figure. Audiences of all ages seemed to respond well to it." The process allowed the editing team; to receive no-holds barred feedback about the film, highlighting the major laughs, the most well received songs, beloved characters as well as any slow moments, areas of confusion and unnecessary characters. Emma Hay says, "Audiences let you know when the comedy is working and where it's weak, this is always hard to judge when you get to know the material very well but a fresh audience tells you straight away. We edited at least sixteen minutes out from our first test screening before we locked it off." Although Emma had never been involved in a film that did test screenings the experience was one that she appreciated as an editor, "I will never underestimate the value of test screening - it really helped us hone the story and the characters."


About the Cast John Howard is Eddy
John Howard, who stars in A man's gotta do as Eddy, is one of Australia's best-loved and highly regarded actors. John makes no secret about the fact that he fell into acting after failing medicine and law. However, since graduating from NIDA in 1978, John has worked continuously in film, television and theatre. The Club, directed by Bruce Beresford, marked John's film debut in 1980 in which he played the promising rookie in this powerful story about winning, losing and off-the-field politics in a football club. Since then his impressive film credits include the recent Australia hit Japanese Story alongside Toni Collette, Take-away with Vince Colosimo, and as Piggott in The Man who Sued God with Billy Connolly and Judy Davis. Other film credits include Fred Schepsi's Cry in the Dark, Southern Cross, Bush Christmas, Razor back, Young Einstein, Bill Bennett's In a Savage Land and Dating the Enemy with Guy Pearce. John has become a renowned stage actor since his debut in Lindsay Anderson's Bed Before Yesterday with early stage credits including The Sydney Theatre company's The Cherry Orchard, The Melbourne Theatre company's production of Mourning Becomes Electra and the Sydney Theatre Company's acclaimed production of Nicholas Nickleby. In 1991 John won the Best Stage Actor Award from the Sydney Critics Circle for his performances in The Sydney Theatre company's productions of The Crucible and Mongrels. In 1992 he received the Stage Actor Award from the Variety Club of Australia. John became the Associate Director of the prestigious Sydney Theatre Company between 1992 and 1995 and went on to found The Australian People's Theatre. His other numerous theatrical credits include the Sydney Theatre Company's Coriolanus, The Life of Galileo and The Recruit. John's illustrious television career began with key roles in the mini series A Town Like Alice and Water Under the Bridge in 1980. From then his list of credits includes the ABC series Restoration Piece, the children's TV series The Girl From Tomorrow and Joh's Jury for which he received an AFI nomination. Other television credits include Sue Smith's The Road from Coorain, Wildside, ABC TV's Changi and soon to be aired mini-series Jessica alongside Sam Neill. In 2001 John received the Silver Logie Award for Most Outstanding Actor. In recent years, John has become a household name due to his roles as Bob Jelly in the hugely popular series SeaChange and John Taylor in Always Greener. After finishing filming of A man's gotta do, John's character Frank Campion has once again got audiences hooked with his new starring role in Seven network's All Saints. Early in his career, John decided that he would only appear in Australian productions and even now feels the same. "I made a commitment about a decade or so to just do Australian things cos that's the language that's in my bones. Chris (Kennedy) asked me, 'What are your ambitions?' I said, 'This... doing this!'"

Chris Kennedy on John Howard He asked me what I wanted. I said I wanted him to change everything. His posture, his walk, his hairstyle, his beard, and most particularly his voice. Get rid of Bob Jelly and John Taylor. Make himself unrecognisable. It was a big ask. He just nodded and walked away. Meanwhile I held my breath. A month later I found this huge, mean looking guy sitting on my balcony in the caravan park.... Who was this guy?


Rebecca Frith is Yvonne
A versatile and talented Australian actress, Rebecca's impressive film credits include the award-winning Love Serenade, which received the prestigious Camera d'Or at Cannes. In addition, Rebecca received the Leonardo Da Vinci Award for Best Actress from The Beau Arts Society in New York for her role in the film as Vicky-Ann. Rebecca's extensive stage credits include The Sydney Theatre Company's The Crucible, Midsummer Night's Dream, title role in Romeo & Juliet, and The Rain Dancers. In 2002, Rebecca received an AFI nomination for Best Supporting Actress for her role in the highly acclaimed ABC TV miniseries Secret Bridesmaids Business. Other television credits include A Country Practice, GP, Water Rats, Loveless and MDA. Other film credits include Me Myself & I by director Pip Karmel Falling, Mulawa, Fetch, The Missing, A Wreck A Tangle, Strange Planet with Naomi Watts, Russian Doll with Hugo Weaving and award-winning short film Violet Lives Upstairs. Most recently Rebecca has finished filming Paul Cox's new film The Human Touch with Jacqueline McKenzie in Adelaide. Chris Kennedy on Rebecca Frith Rebecca's humour is in the small gesture. The shifting gaze. The blank expression. The tiny hand movement. She does most of her best work in the silences. I saw her peer through a Venetian blind at a next-door neighbour in 'Love Serenade', a total of five seconds work, but I knew I was looking at my Yvonne.

Alyssa McClelland is Chantelle
Alyssa McClelland plays the role of Eddy' s feisty daughter Chantelle or "Shonny" as she is affectionately known. A man's gotta do is Alyssa's fourth film role following her roles in Australian comedy Horseplay alongside Jason Donovan, in Queen of the Damned with Aaliyah and more recently in Steve Pasvolsky's debut feature Deck Dogz, produced by Bill Bennett and Jennifer Bennett and starring Richard Wilson, Brendan Cowell and American skateboarding legend Tony Hawk. Born on the outskirts of Sydney, Alyssa spent her latter education at the prestigious Newtown School of Performing Arts, received a scholarship from ATYP (Australia Theatre for Young People) in 2001 and used it for two months' study at the Atlantic Theatre Company in New York. Since 1999 Alyssa's television credits have included All Saints, Water Rats and Home and Away. Alyssa's theatrical credits included several plays for the Australian Theatre for Young People The Birds, RE: Macbeth, Spurboard and Reclaim the stage before taking the role of Jenny in the 2003 Sydney Theatre Company's high profile production of The Shape of Things, directed by Jeremy Sims. Chris Kennedy on Alyssa McClelland Alyssa was a gift. When most actors are sad, they are sad. When Chantelle is sad, she is sad, but also funny. When she is happy, she is happy but also funny. And when she is angry, she is angry but also funny. The angrier she gets, the funnier she gets etc., etc. That's what I was looking for. An actor with that extra layer. On a more practical level, I tinker with a script, sometimes rewriting scenes hours before shooting. Everyone must be cool with that, but a lot of the changes involved Chantelle's character and I needed an actor with the craft and good humour to take that in her stride. Also, she's the first to a party, and the last to leave; a commendable attribute in a young woman.


Gyton Grantley is Dominic Since graduating from QUT Academy of the Arts at the end of 2001 Gyton has quickly gained experience as a young actor, playing a cross section of characters in film, television and theatre. Straight after graduating, Gyton gained his first role in the critically acclaimed feature film Swimming Upstream with Oscar winner Geoffrey Rush and Judy Davis. Other film credits to date include Danny Deckchair with Rhys Ifans and Miranda Otto; the schoolies film Blurred and quirky gangster film Under the Radar. Gyton was seen in a completely different light in Network Ten's Small Claims opposite Claudia Karvan and Rebecca Gibney in which he played Detective Senior Constable Brett Michaels. Gyton will reprise the role in the series of Small Claims telemovies when the first one begins filming in November 2004. Small Claims reunited Gyton with director Cherie Nowlan, with whom he worked in the ABC acclaimed series Marking Time, by John Doyle. Other TV credits include the ABC series Fat Cow Motel and more recently a guest role in an episode of All Saints. Despite film and TV demands, Gyton has maintained his love of live theatre. For the first half of 2004 he played Sam in Ensemble Theatre's production of Vincent in Brixton, and last year he played the coveted role of Constable Ross in La Boite Theatre's production of David Williamson's classic play, The Removalists. He also appeared on stage in Vertigo and the Virginia at the Old Fitzroy (Sydney) as well as Joe in The Blue Roof for Jigsaw Theatre Company. A man's gotta do is Gyton's first lead role as Eddy's naïve right-hand man Dominic. Chris Kennedy on Gyton Grantley "Gyton was a surprise packet. He was so perfect for the role and technically adept, that I was perhaps a little unfair and didn't pay enough attention to him. Meanwhile Gyton was like a thief in the night. He almost stole the show. I knew he was very good, but I didn't realise how good until we got into the editing room. The subtle emotion that he conjures up on the day he leaves Eddy, or outside the hospital when he explains how he fractured Eddy's skull weren't so evident to me in front of the camera. But it was all there. Dominic has become a larger character than on the page, and audiences have responded to him surprisingly strongly. As for his attitude, you could hit him over the head with a steel pipe and he'd ask if the ringing in his ears was bothering anybody."


About the Filmmakers Chris Kennedy - Director/Writer/Producer
A man's gotta do is the fourth film that Chris has written, directed and produced. His previous films include Doing time for Patsy Cline, This Won't Hurt a Bit and Glass. In 1993 This Won't Hurt a Bit was nominated for 2 AFI awards including Best Original Screenplay and Best Lead Actress for Jacqueline McKenzie. His 1997 film Doing time for Patsy Cline starring Richard Roxburgh and Miranda Otto won 4 AFI Awards from 10 AFI award nominations, won 5 FCCA awards, received the award for Best Original script at the San Diego Film Festival as well as winning Australian Writer's Guild Award for Best Original script. Chris Kennedy lives and works in Sydney. He fits in script-writing and filmmaking round his "real job" as a sought after dentist.

John Winter - Producer
After over 20 years in the film and television industry, John Winter is considered one of Australia's foremost producers. Following his degree in Indian Studies and Anthropology, John worked as a production manager on numerous quality documentaries, telemovies, series and miniseries including the acclaimed Nature of Australia series, A Dangerous Life (shot in the Philippines and Sri Lanka), Bodysurfer, Police Rescue, Come in Spinner and Inspector Morse. Since 1991, John has focused on feature films. He line produced The Roly Poly Man and No Worries and co-produced Love in limbo (starring Russell Crowe and Aden Young) and the Australian/Canadian co-production, Turning April. John then produced the critically praised Vacant Possession (4 AFI nominations), and the Sydney Film Festival opener Doing time for Patsy Cline, which starred Richard Roxburgh, Miranda Otto and Matt Day. He returned to television as the script producer on the first series of the Australian Broadcasting Corporation's highest ever rating television drama series, SeaChange with John Howard. His next feature, Paperback Hero was the film that launched Hugh Jackman's film career. This was followed by the Berlin Film Festival entrant, My Mother Frank. Most recently John was a producer on Phillip Noyce's highly acclaimed box office success Rabbit-proof fence which has won numerous international audience awards and was voted Best Film at the 2002 Australian Film Institute Awards.

Kim Batterham - Director of Photography
As Director of Photography, Kim Batterham has shot numerous award-winning documentaries, feature films and television series. Kim Batterham's impressive credits include Marriage Acts, the highly acclaimed and award winning The Potato Factory, Kangaroo Palace, the Emmy nominated Johnson and Friends which won the Atom Award for Best Children's Drama; the documentaries Fish, The Maitland Wonder - Les Darcy, Black Swan - winner of "Best Film - Dance on Camera" in New York and the "Grand Prix Video Dance" in Paris, Watch the Watch - winner of the Golden Atom Award for Best Film and Atom Award for best Documentary, MAD Films' Black River - winner of best Picture at the IMZ Opera Film Awards in Paris, and Brett Whiteley winner of the 1990 Gold Hugo Award in Chicago and Best Arts Documentary at the 1990 BANFF TV Festival. In 2000 Kim won the prestigious Australian Cinematography Society Milli Award for Cinematographer of the Year. Most recently, Kim is renowned for his award-winning photography on the musical feature One Night The Moon, for which he won an Australian Film Institute (AFI) Award for Best Cinematography in a Non-Feature Film and an Australian Cinematographers Society (ACS) Gold Award. Overseas Kim 's work on One Night the Moon was recognised by the New York International Independent Film and Video Festival Award 2001.


Since then his credits have included 2 unit on Peter Weir's Master and Commander, telemovie Wrath of Angels, Escape of the Artful Dodger, the short drama Floodhouse and one hour drama The Widower for ABC TV. A man's gotta do is Kim's first collaboration with writer director Chris Kennedy.


Elizabeth Mary Moore - Production Designer
After graduating NIDA in 1991, Elizabeth spent two years in the UK, firstly in the art department of seminal TV show Don't Forget your Toothbrush, and latterly as tour manager for the Doug Anthony Allstars. On her return to Australia Elizabeth designed numerous high profile commercials and music videos, before going to AFTRS to study Production Design in 1996. Her extensive production design experience in short films includes Tulip by actor/director Rachel Griffiths and AFI nominated shorts Flying over Mother, Lovely and Above the Dust Level. Elizabeth's impressive feature credits include Russian Doll with Hugo Weaving and Rebecca Frith and the Australian hit Mullet with Ben Mendelsohn and The Illustrated Family Doctor with Samuel Johnson. Elizabeth is currently working on Peter Cattaneo's feature Poppy and Dingan starring Vince Colosimo and Jacqueline McKenzie in South Australia.

Jane Johnston - Costume Designer
Jane Johnston has been specialising in the worlds of film, television, and magazines since 1985. With origins as a Graphic Designer, Jane began work in the art department and quickly moved on to wardrobe, specialising in costume design and styling. Jane has worked on a variety of feature films with Directors such as Gillian Armstrong, John Woo, Alex Proyas, and Richard Wherrett and award-winning Costume Designers Lizzy Gardiner and Janet Patterson. Her film credits range from Mission Impossible 2, Oscar and Lucinda and Billy's Holiday to short films such as Frank's Dream Clock and the award-winning Hoppin' Mad. Jane has worked in the US, UK and in Australia and has dressed many actors, models and celebrities. In addition to film, Jane 's TV credits include House Gang, a 6-part series on SBS and more recently appearing as both stylist and on-air talent for the Lifestyle Channel's 8-part series Lifeforce heading up the program's makeover team. Jane has also Art directed and Costume Designer on countless TVCs as well as guest lecturing at the Australian Film Television and Radio School.

Peter Best - Composer
Peter Best composes, orchestrates and conducts his own scores. He has composed many award-winning scores for film, television and theatre including internationally acclaimed Australian feature films, including Crocodile Dundee, Crocodile Dundee II & Muriel's Wedding, starring Toni Collette and Rachel Griffiths, all of which won APRA Best Score Awards. Peter received an AFI (Australian Academy) Best Score award and the Film Critics' Circle best Music Awards for his work on Chris Kennedy's last film Doing time for Patsy Cline and Dad and Dave; on our Selection. Other film credits include AFI winning scores The Picture Show Man, Rebel and Bliss, Goodbye Paradise, High Tide, We of the Never Never, Country Life, Petersen, My Mother Frank and The Adventures of Barry McKenzie Peter's television credits include The Harp of The South and its sequel, Poor Man's Orange, Alice to Nowhere, Custody, Devil's Hill, the 11-hour documentary series Man on The Rim, The Heroes, The Greatest Tune on Earth, Mr Edmund, The Saint in Australia, The River Kings, Clowning Around, Blue Murder, The Leaving of Liverpool, Grass Roots and Young Lions. His score for The Heroes won Best Original Music in the New York International Film and Television Festival. The tile music he composed for Gannon Jenkins /ABC TV drama series Wildside won Peter Best TV Theme in the 1998 APRA awards. In theatre, Peter wrote the songs, words and music for The Selection, a play by Steele Rudd adapted and directed by George Whaley for the Melbourne Theatre Company, provided the sound score for an 21

installation at the Art Gallery of New South Wales by Belgian artist Danny Matthys and did the sound and music for the plays Happy New and ATM by Sydney playwright Brendan Cowell.

Christine King - Casting Director
Christine King is widely regarded as Australia's premier casting agent and her impressive list of film and television credits charting over 25 years in the industry reflects that reputation. In terms of television, Christine has cast over 200 hours including all episodes of the award-winning ABC series Wildside, Grass Roots, telemovie Temptation and White Collar Blue. With over 30 films, Christine's impressive list of credits includes Star Wars: Episode II, Gregor Jordan's Ned Kelly starring Heath Ledger, Craig Lahiff's Black and White, Phillip Noyce's The Quiet American and Rabbit-proof fence, The Time Machine with Guy Pearce, South Pacific, Moulin Rouge, X-Men, My Mother Frank and Chris Kennedy's last film Doing time for Patsy Cline.

Emma Hay - Editor
Emma was brought up in England where she worked in publishing and television before coming to Australia in the early 80s. She has worked as Sound Editor and Editor on various projects for television and the cinema. For four years she was the Editing Lecturer at the Australian Film and Television School. Emma has been a freelance Editor since 1989, editing independent projects for the ABC and SBS television. In 2001, she was awarded the AFI for Best Achievement in Editing for The Secret Safari directed by Tom Zubrycki, which also won best documentary at the Dendy Awards in Sydney. Films that she has edited include The Christmas Cake directed by Katey and David Grusovin, Winner of the Rueben Mamoulian Award, Best Documentary, Dendy Awards and Best Australian Film, Flickerfest Sydney, Stolen Generations directed by Darlene Johnson short listed for an International Emmy Award 2000 and more recently Gulpilil: one red blood also directed by Darlene Johnson which was a finalist in the Logies 2003. In April 2003 she was awarded a Centenary of Federation Medal for her contribution to Australian Society and Australian Film production. Emma is a committee member of the Australian Screen Editors Guild and is often asked to be a consultant on independent films and various film funding bodies.


Principal Investor Film Finance Australia

Financed with the assistance Produced with the assistance of of Movie Network The New South Wales Film and Television Office

Crew List
Writer/Director/Producer Producer Director of Photography Editor Production Designer Costume Designer Composer Casting Director Executive Producer Production manager First Assistant Director Sound Supervisors Production Coordinator Production secretary Production/Rushes Runner Production Runner Production Accountant nd 2 Assistant Director rd 3 Assistant Director Location manager Location Scout Unit manager Assistant Unit Manager Unit Assistant Security Casting Associate Focus Puller Clapper Loader Steadicam Operator Sound Recordist Boom Operator Gaffer Best Boy Electrics Electrics Key Grip Grip Additional Grip Art Director Prop Buyer/Dresser Prop Buyer/Vehicle Wrangler Stand-by Props Art Dept Runner Armourer Painter Animal Wrangler Plasterer Concrete Prosthetics Costume Supervisor Stand by Costume Additional Costume Key Make-up/Hair 23 Chris Kennedy John Winter Kim Batterham Emma Hay Elizabeth Moore Jane Johnston Peter Best Christine King Troy Lum Julie Sims Claire Richardson Tony Vaccher John Dennison Kelly Vincent Meredith Hussey Paul Varolo Tristram Baumber Dianne Brown Paul Sullivan Hamish Roxburgh Colin McDougall David Sharpe Andrew Hayes Kim Gladman James Smith Snow Bostock Trish McCaskill Jules Wurm Bonnie Elliott Tobert Agganis Guntis Sics Nicole Lazaroff Steve Price Steve Edwards Steve Daly Glen Hanns Greg Molineaux Angus Gowans Rachael Samuels Nell Hanson Tania Einberg William Goodes Shane Bennett David Moore Ken Jones Tony Espada Gerard Hagen Kathy Coolahan Joe Kennedy Justine Seymour Amanda Craze Natalie Dives Sherry Hubbard

Makeup/Hair Artist Additional Make-up Safety Officer Unit Nurse Safety Report Writer Caterer

Script Editor Publicist Stills Photographers Lawyer Completion Guarantor Insurance Camera Equipment Film Stock Lighting Equipment Travel Unit Generator Vehicles

Assistant Editor Negative Cutting

Film Laboratory Lab Liaison Colour Grader Titles & Digital Opticals Telecine Cutting Room Sound Post Production Facilities Facilities Coordinator Sound Effects Designer Associate Sound Editor Dialogue Editor Folwy/ADR recordist Foley Artist Additional Foley Editor Technical Liaison Sound Supervisors & Re-recording Mixers Dialogue De-Noising Dolby Consultant

Willi Kenrick Trish Newton Rob Simper Kelllie McDonald Wayne Pleace Kollage Katering Michael Nation Jacqui Lanauze Liz Bethell John Winter Sally Steele/gallus Mark Rogers Simon Cardwell Nina Stevenson Hamish Watson Film Finances Inc H.W.Wood Panavision Australia Paul Jackson Kodak Australasia Tim Waygood Conway Film Lighting Traveltoo Greg Helmers Beacon Film Hire Eulabah Pastoral Ironbark Holdings Empire Film Services Alicia Gleeson Chris Rowell Productions Chris Rowell Jackie Gelling Debora Magyar Atlab Jamie Marshall Greg Short Tony Manning Optical & Graphic The lab Magnet Post Audioloc Mary Dennison John Patterson Nick Byrnes Warren Pearson Duncan McAllister Helen Brown Luke Young Ross Brewer Tony Vaccher John Dennison Phil Snow Bruce Emery

Original Music Composed and Arranged by Peter best Recorded and Mixed at the Pie Factory, Sydney Australia. Recording and Mixing Engineer Bass Dobro Guitars 24 Richard Lush Leon Gaer Michel Rose Tom Ferris

Keyboards Percussion

Sequencing Trombones Trumpets Music Licensing Services

William Risby David Armstrong Tim Paillas Iain Scotland Peter Best James Kennedy Phillip Slater Kim Green

"Every Time you Touch Me" Words and Music By Jordan Best (APRA) Performed by Jordan Best "It's You" Words and Music By Jordan Best (APRA) Performed by Jordan Best "On Top of the World" Words and Music By Jordan Best (APRA) Performed by Jordan Best "Tu Dis" Words and Music By Jordan Best (APRA) Performed by Jordan Best "Borough & Bayonet" Performed by the Band of the Royal Army Ornance Corps Written By George Hurst Published by Music Master Ltd C Music Masters Licensed Courtesy of Music Masters Ltd (UK)


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