LOU (DOC) by runout


       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 love.

        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 rickety, 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.
        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 film.
        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,” Belinda says.
        “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 profoundly.
        “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 uplifting story.”
        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 performer.”
        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 about memory.”
        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 sun.
        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
        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 cinematographer.”
        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
       THE CAST
        John Hurt is one of the most acclaimed actors of his generation. 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. He is noted for other memorable roles in films such as Nineteen Eighty-Four,
Watership Down and, more recently, Indiana Jones and the Kingdom of the Crystal Skull and
(as Mr Ollivander) the Harry Potter series.

       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 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. Emily was born in the UK but grew
up in New Zealand.

     CHARLIE-ROSE               MacLENNAN           as     LEANNE         and      ELOISE
        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.

       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.
        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 Sydney Morning Herald.

         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.

        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.

        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.
        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.

       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
        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.

        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.

        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 Apprentice.

        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.

          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 beyond.
          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.

        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
                                 Dan Clark
            Clapper/Loader       Steven Magrath
        Camera Attachments       Brydie-Lee Sheen
                                 Daniel Dunn

                      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
                                         Dan Houweling
                                         Jake Ingram

                      Unit Manager       Will Matthews
                      Unit Assistant     Richard Olsen

                             Security    Simon Van Oorde
                                         Ben Pettifer

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
                                         Meri Blazevski

                 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
                                          Huzzah Sound
                                          Native Audio
                                          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
                                          Stephen Roucher

                   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
                                         Donna McCrum
                                         Andy Canny

               Post-production Script    Clever Types
                                         Kerrie McGovan

              Camera Equipment Hire      Kojo Pictures
                  Managing Director      Kent Smith
              Equipment Coordinator      Craig ‘Rags’ Phillpot

                               Travel    Showfilm
                              Freight    Showfreight
                           Cast Vans     Empire Film Services
                        Legal Advisor    Marshalls & Dent
                                         Shaun Miller

                           Insurance     Holland Insurance
                                         Brian Holland

                    Completion Bond      FACB
                                         David Noakes
                                         Corrie Soeterboek

                            „Pokarekare Ana‟
             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

                                                Thanks to
           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
                                             Allan Partridge
                                        Tony and Robyn Scibilia
                                    The Murwillumbah Police Station
                                          Byron Premium Ale
                                     Cabarita Surf Life Saving Club
                                          Cancer Council NSW
                                           Colgate Palmolive
                                            Echo Publications
                                            Kellogg Australia
                                         Lion-Nathan Australia
                                            MAC Cosmetics
                                              Malvern Star
                                              NSW Police
                                        Pan MacMillan Australia
                                        Penguin Books Australia
                                                Rip Curl
                                             Sony Australia
                                            Surfside Buslines
                                           Tantalus Interactive
                                     Westpac Banking Corporation

                                        (TV) Footage courtesy of
                                  Big and Little Films & Scott Millwood
                                    Cordell Jigsaw & Michael Cordell
                                             ABC Television

                  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




                       AND ITS REGIONAL FILMING FUND
                            A Big and Little Films production for
                                    Matchbox Pictures

                                        PRINCIPAL INVESTOR
                                         SCREEN AUSTRALIA

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