Gordon Merchant
Executive Producer
I can remember when I first came to Australia in 1970 for the world contest at Bells Beach. After the contest we drove to Queensland and one day we pulled up into the car park at Burliegh and it blew our minds. The surf was pumpin'. We all ran out over the rocks and pretty much on one of your first few waves you wiped out and lost your board on the rocks. As I was swimming in this guy came flying by with his little shooter and a very crude leg rope. That was the first time I ever saw Gordon Merchant. Little would I realize that many years later he and I would work together making surfing films. After a long run with Billagong, it was time for me to move on and Gordon was kind enough to understand my vision and backed the production of ADSOB. Throughout the editing process he continued to add very valuable contribution to the end result.
Thank you Gordon for your friendship all of these years and in making ADSOB a reality.
Jack McCoy
Director/DOP/Writer
As the Director, the buck stops with me. However without the group of people I've had the honour to work with on this production, the film would not be what it is. It was a big effort from everyone and I believe we all are very proud of our end result. Team, I salute you, and thank you all for coming along the journey with Kelly and I. Everyone of you filled with Aloha!
Kelly McCoy
Producer
Kelly has been working with Jack for the past twenty years. As well as being married to Jack, Kelly has produced his films.
Colette Greer
Producer
Like Gordon, I met Colette in the early 1970's and she goes back to the start of Billabong with Gordon and Rena. Once I started working with Gordon in the late 1980's, Colette was working side by side as a producer of our films along with my wife Kelly. Her continued friendship and support on ADSOB is greatly appreciated.
Garth Murphy
Writer
Garth Murphy is my Sensei and collaborator on many projects. He and his wife Euva have supported me and my art for many years, for which I'm deeply grateful.
Garth is a deep thinker and writer who has contributed incredible input to my productions on many levels; ultimately in writing.
My favorite line of his is in Blue Horizon... "Rasta is the only surfer I know who can tickle the lip behind his back in the tube, sort of like a blind man reading brail, decoding a message only a waterman can understand," during a high speed shot of Rasta doing exactly that. His novel The Indian Lover, spans the years 1845 to 1851 – the final days of California under the rule of Spain and Mexico. It is an amazing read, especially for people living in Southern California.
Moses Goods
Narrator
I have to thank Coleen Kelly, John Kellys daughter for encouraging me to seek out Moses as our narrator. I was in HI and mentioned to her that I was looking for one and she told me about this amazing actor who had a beautiful deep voice and could pronounce all of the Hawaiian words perfectly. I met him at the Honolulu Theatre of Youth where he was playing a Dinosour. I knew he had the perfect voice. Moses told me he'd never done a film narration before but I told him I loved his voice and we'd make it work. Turns out that Moses is half Hawaiian and is not only an actor, he does part time story telling at the Bishop Museum. Thank you Moses for delivering our story with Aloha.
Derek Hynd
I've known Derek for many years, most favourite frozen moment in time; DH doing the cockroach on the floor at the Torquay Pub during the Punk era. Way too funny, or was it Mick Newling... not sure now. Anyway DH and I really connected after I saw his film Pro Land. If you've never had the pleasure, hunt it out...
We have worked on a couple of projects together and DH was my side kick while making Blue Horizon, and he was there from day on in the creating of ADSOB. I'm sure I can speak for him when I say we both had sooooooooooo much fun at times we had to pinch ourselves to realise this is what we get to do. Thanks DH for your continued help and support thru thick and thin.
Calli Cerami
Editor
I met Calli in Bali when she was making the film "Can't Step Twice". I asked her if she'd like to edit a new film I was making with Billabong that ended up being Bunyip Dreaming. I've had the honour to be able to sit over her shoulder and watch her make magic with my images ever since, basically working on every film I've made since 1989. As a dear family friend, we were once again stoked to have this Emmy awarding winning artist work on ADSOB. Calli also came up to my studio on the eve I went to London to show PM the Blue Sway cut and added a couple of her moments of magic that made it perfect! Huge Aloha Calli, "you da best!"
Mark Tanner
Sound
Mark is another one who I've had the honour to work with on every film since Bunyip. Calli put me onto him. Mark is the greatest sound artist I know. Like I've always said, music and sound are 50% of the movie experience with saying that, Mark's contribution is the ear tickler guy amongst us. With a very wicked dry sense of humour, the sound mix is always one of the highlights I look forward to at the end of the production. It's when I get to go into his dark sound studio and watch the genius as work. His mix of sound and effects for ADSOB is another one of his masterful creations. On ya Mark, thanks for all the fun and laughs.
Sarah Longhurst
Music Supervison
Music producing is one of the most critical jobs in my film productions. I've picked the best songs I can get but it was not until I met Sarah half way thru the production of Blue Horizon, was I able to get licensing permission to 99% of all of the songs that I dreamed of using in the film. Sarah loves a challenge and when someone say's you'll never clear that song for the money you have in your budget, the more she goes to work to prove you wrong. A classic example is her being able to clear a Jimi Hendrix song for Blue Horizon. The Hendrix foundation is known for making it really hard to clear his music, but not only was Sarah able to clear it, but clear it within our tiny surf movie budget. She has been responsible for negotiating the licensing for the main marquee acts in the film which make it such a powerful soundtrack.
Warren Lynch
Colour Grade
When I was just starting to transfer my 16mm film to video take to create my films on tape, I was introduced to Warren who is another person I've had the honour and privilege to work with creating my films. Not only has he guided me technically through out the video and digital landscape, Warren has used one of his main passions colouring the end result. The are is one we call in the industry and a colourist. His colour grades have given my images that extra sparkle, basically he's the one who has made me LOOK good all of these years. I'm not the only one who thinks that way. Warren was part of the colour grading team who created the "Discrete Luster" colour grading computer Warren has a saying, "Pressure makes diamonds" and let me tell you he's responsible for for creating all the diamonds in my world. Thanks for your continued support.
Peter Hock
Writer
I met Peter Hock within a week of landing in Australia from Hawaii in April 1970. We've been friends ever since. Peter worked with me showing surfing films like Five Summer Stories and then went on to a career in writing. He has a string of amazing credits, one of which was writing the successful Sydney Olympic Proposal.
When I made my first film for Billabong in 1990, it was Peter who came up with Bunyip Dreaming and has been working on my films ever since.
Graeme Davey
Art Direction/Writer
Once we started production I asked Graeme Davey to come on board. Gravey and I started working together on Bunyip Dreaming and he has worked with me shoulder to shoulder on most of my films since then. His lateral approach to seemingly normal subjects is unreal. His commitment to making it interesting, creative and beautiful never ceases to amaze me. All of that, along with his love of surfing and appreciation of its roots, is one of the greatest assets the production has.
Campbell Wilson
Editor
Campbell Wilson worked with me during the Occumentary days and we've done a few little things over the years. The Yoga teacher needed some arm twisting to come do some editing with us, and we're very grateful for his help and support, as we rough out some of the sequences and have a look as some the styles we're going to try and incorporate.