buried country - Program Sales

advertisement
BURIED
COUNTRY
Where black Americans turned to the blues to express their stories,
Australia’s Aboriginal people were drawn to country and western and
made a special music all of their own. Buried Country reveals this
largely untold story. It traces six decades of this rich musical tradition,
using rare recordings and archival images, and first-hand interviews
with singers and songwriters. What emerges is not only a celebration of
the music itself, but a poignant record of indigenous Australia.
1
Warning. This film contains images and music of
Australian Aboriginal people who have passed away.
FILM AUSTRALIA LTD
PRESENTS
BURIED COUNTRY
A FILM AUSTRALIA
NATIONAL INTEREST PROGRAM
PRODUCED IN ASSOCIATION WITH
SBS INDEPENDENT
Director ANDY NEHL
Writer CLINTON WALKER
Co-Writer ANDY NEHL
Producer LIZ WATTS
Executive Producer MARK HAMLYN
Commissioning Editor, SBSI JOHN HUGHES
Narrator KEV CARMODY
Narration Written by
CLINTON WALKER
ANDY NEHL
KEV CARMODY
Based on the book, Buried Country by Clinton Walker
published by Pluto Press Australia
http//media.socialchange.net.au/pluto
Many thanks to our participants
AURIEL ANDREW
TROY CASSAR-DALEY
SLIM DUSTY
COL HARDY
ROGER KNOX
JIMMY LITTLE
BOBBY MCLEOD
HERB LAUGHTON
BOB RANDALL
BILL RILEY
LIONEL ROSE
VIC SIMMS
WILGA WILLIAMS
GUS WILLIAMS
THE FAMILY OF DOUGIE YOUNG
GALARRWUY YUNUPINGU
ERNIE BRIDGE
KEVIN GUNN
BUDDY KNOX & THE EURABA BAND
without whom this film could never have been made
The filmmakers regret that space did not allow us to
mention the hundreds of other Indigenous
country musicians from across Australia.
Original Research CLINTON WALKER
Editor KAREN JOHNSON
Camera WARWICK THORNTON
Sound Recordist LEO SULLIVAN
Production Manager ANITA SHEEHAN
Alice Springs Liaison NEVILLE KHAN
Stills Photographers CORRIE ANCONÉ, CLINTON
WALKER & ANDY NEHL
Additional Camera SIMON HIGGINS, ROBERT
HUMPHREYS
Additional Sound Recording PAT FISKE
Additional Research ANITA SHEEHAN
Editor’s Assistant BILYANA SIBINOVSKI
Assistant Sound Editor NIGEL CHRISTENSEN
Music Mastering WARREN BARNETT, FESTIVAL
RECORDS
Sound Editor ANDREW BELLETTY
Sound Mixer PHIL JUDD, PHILMSOUND
Camera Gear & Lighting LEMAC
Offline Edit Room FILM AUSTRALIA
Transcriptions CLEVERTYPES
Titles ANTHONY BATTAGLIA, BOX COMMUNICATIONS
Online Operators DAVID TINDALE, CRAIG WILSON
Grade PETER SIMPSON
Post Facility FRAME, SET & MATCH
FILM AUSTRALIA PRODUCTION UNIT
Business Affairs Manager PATRICIA L’HUEDE
Production Accountant FIONA WHITE
Production Liaison KAREN SKEA & HARRY REE
Production Assistant ROBERT BRENNAN
Executive Producer’s Assistant SALLY CREAGH
Program Promotions Manager SUSAN WILSON
2
BURIED COUNTRY – PRODUCTION STORY
The idea for making Buried Country came from writer Clinton Walker who had been
researching a book on Aboriginal country music for several years.
“It was the passion I had for rock’n’roll that led me to its roots in country music and jazz and
blues and, inevitably, to Afro-American culture”, says Clinton Walker. “I knew music could
build bridges because it’s done it for me, but it wasn’t until the 1980s when I was working as
a freelance music writer that I really became aware of Aboriginal Australia, when a wave of
Aboriginal bands, in particular Warumpi, Coloured Stone and Roger Knox and Euraba,
somehow penetrated Darlinghurst’s inner sanctum of indy rock. Warumpi Band’s debut
single ‘Jailanguru Pukarnu’ in 1983 was the freshest blast of roots country-rock I’d ever
heard – and I became, in a word, a fan.
“I made the trek to Tamworth a few times in the eighties and we always made sure we
caught Roger Knox and Euraba. To us – a mob of would-be urban cowboys – Roger Knox
was an unsung black superstar. The fact that he is still an unsung superstar is a good part of
the reason why this documentary came about.
“I’d already edited a couple of books about Australian music, written Highway to Hell, a
biography of AC/DC rock legend, Bon Scott, and other books, including one about Australian
Rules football. In the mid-nineties I started work on Buried Country and came to realise the
richness of this material which had, so far, been overlooked. It was probably at this point that
I also realised the book had to become a film as well.”
Clinton approached Andy Nehl to co-write and direct the Buried Country film. Andy Nehl had
worked as a director, producer, writer and journalist in television and radio for the last two
decades.
“I love the music”, says Andy Nehl. “I already knew the music of Jimmy Little and Roger
Knox. I’d been to their gigs and had interviewed Roger Knox for Beatbox back in 1986. I
thought that the film would be a powerful vehicle for telling this fantastic story of Aboriginal
country music to a broader audience.
“Originally I was to produce and direct the film but when we took the project to Film Australia,
the executive producer Mark Hamlyn, suggested I concentrate on directing. That’s when Liz
Watts came on board as producer.
3
“The richness of the subject area and the material that Clinton and Andy had uncovered,
really attracted me to this film” says Liz Watts. “I knew from my own enjoyment of music
documentaries over the years, that this film had the potential to celebrate a musical history
that has been hidden, and also take the audience into the lives and experiences of the artists
themselves.”
Andy Nehl continues.“I was working with an excellent team. Warwick Thornton is a fantastic
cinematographer with a great eye – as you can see from the beautiful work in the film – and
the sound recordist, Leo Sullivan did a great job. Karen Johnson our editor was also really
invaluable and contributed a great deal to the finished film. Clinton Walker is a talented writer
with a passion for the topic – he knows the music backwards – and Liz Watts’ experience
ensured a very smooth production. She has the knack of never missing the smallest of
details – and there are plenty of those in a film that uses so much music and archival
material.
“Shooting the film was exhausting but great fun – long days on the road for five weeks, six
days a week – to Tamworth, Armidale, Newcastle, Broken Hill, Brisbane, Melbourne, Alice
Springs, Nowra, Narooma and so on.
“The collaboration and enthusiasm of the artists was extraordinary. The hardest part about
this film was always hearing about more and more singers. Every community has great local
country singers – there are hundreds out there that we couldn’t fit in the film.
“We were really fortunate in receiving heaps of enthusiasm for the film from the artists
themselves, who trusted us in sharing their musical lives and also their personal
experiences. By the time we were editing we knew that we had enough material for a whole
series of films! But of course, we wanted to delve into more detail with fewer artists, to get
fuller stories of their music and experiences.
“We decided to concentrate on the stories of the three main characters – Jimmy Little, Herb
Laughton and Bobby McLeod. Their stories are the backbone of the film, reinforced with
interviews from other artists like Vic Simms, Wilga Williams, Auriel Andrew, Bob Randall,
Roger Knox, Lionel Rose and Troy Cassar-Daley.
“Kev Carmody narrated Buried Country. He has been a musician for decades and, of course,
knows many of these artists. He brought much of his own experience to the film and as well
as being intricately involved in the writing of the narration, he was a consultant on different
cuts of the film over the editing period.
“Aboriginal country music and the changing social, economic and political conditions of each
decade are inseparable. We didn’t set out to make a political film, but given the treatment
Aboriginal people had experienced over the last 200 years, politics were, and continue to
be, intrinsic to the music – whether it’s Jimmy Little singing about a Koori lad trying to get a
4
job and being rejected (a song Jimmy’s father wrote), or Bob Randall singing about being a
stolen child, or Galarrwuy Yunupingu singing about land rights.”
Clinton Walker continues: “This film is about two cultures intersecting. Getting to know this
cast of characters was as rare a privilege. This film is a testament to these people – to their
talent, determination, grace and generosity of spirit. We were greeted, uniformly, with
enthusiasm and openness. I was humbled and often moved by the way these people could
talk with humour, dignity and courage and without bitterness and anger.
5
“Aboriginal people have survived by holding fast to a sense of community, to extended family
ties, to their stolen land. And this music has played an important part – but until now it’s been
a story hidden from the wider community. Most musicians live on the road, touring, playing to
the people, but movement was severely restricted for Aboriginal musicians – in Queensland,
until as recently as the mid-seventies. As well, the very concept of collective ownership and
responsibility discourages self-promotion. Songs are handed down and shared around only
for the common good. In turn, until very recently, the record business didn’t exactly flock to
Aboriginal music’s party. The recorded legacy is slim. Uncovering the story of the music and
the people who make it is, first and foremost, why I have written the book (published by Pluto
Press) and why we’ve made the film.
Producer Liz Watts says that there was a period of intense archival research for Buried
Country .
“A lot of the research was based on the work Clinton had done over the years collecting
material on an area he was so passionate about. Clinton, Andy, Anita Sheehan (production
manager) and I went on to find more visual material in the archives of ScreenSound,
AIATSIS, Film Australia and the ABC. Much of the footage was quite rare – like the scenes
of the Gumleaf Band in Ken Hall’s 1933 film, The Squatter’s Daughter, and of tribal people
listening to a gramophone at Haast’s Bluff. We had heaps of help from many people at the
archives themselves, often from people who shared a bit of a soft spot for country music.
“We also had plenty of co-operation from individuals. Mostly we found bits and pieces
through word of mouth – people with boxes of photos and cassettes in their garages and that
sort of thing. Because they are part of such personal histories, these rarer materials added
great weight to the stories in the film. Often the artists had collections of their own, and their
contributions to the film are wonderful.
“The various music labels were also great. Festival Records was very co-operative allowing
us to access their archives and they re-mastered much of the music for us. Of course, other
major labels like EMI, BMG and smaller country music labels were of tremendous assistance
in piecing together the music.”
Buried Country will have its premiere screening at the Sydney Film Festival in June 2000 and
is slated to go to air on SBS-TV later in the year.
6
BIOGRAPHIES
ANDY NEHL
Director/Co-writer
Prior to Buried Country, Andy Nehl worked variously as a director, producer, journalist and
writer over the past two decades. His film and television credits include: the documentaries
Media Rules for SBS TV and Antarctica - The Money Or The Gun On Ice for ABC TV; and
the television programs Beatbox, Blah Blah Blah and Attitude for ABC TV, Denton and Paul
Keating Unplugged for the Seven Network, The Real Election for Network Ten and
Mouthing Off for thecomedychannel. Since completing Buried Country Andy has joined the
Australian Film, Television and Radio School as Head of Television for 2000.
Director/Co-Writer BURIED COUNTRY Documentary 75 mins, Film Australia/SBSI, SBS TV
(1999 – 00); Producer/Writer, MOUTHING OFF PILOTS for ABC TV Artist Services/ABC TV
(1999); Interviewer/Field Director HISTORY OF AUSTRALIAN ROCK’N’ROLL 6 x 1 hour
Documentary Series – ABC TV (1998 – 99); Producer, THE REAL ELECTION (2 x 30 min
comedy specials on the 1998 Federal Election) Screentime/ Network TEN (1998);
Producer/Writer, MOUTHING OFF series 1, 2, 3 & 4 Artist Services/ thecomedychannel
Foxtel/Galaxy (1996-1998); Co-Director/Co-Producer, MEDIA RULES Documentary 86 mins
TVG Communications/SBSI SBS TV Winner 1996 ATOM Award Best Education in Context
Documentary (1996); Editorial Producer, PAUL KEATING UNPLUGGED 30 mins Eastway
Communication/ Seven Network (1995); Associate Producer, DENTON show Eastway
Communication/ Seven Network (1994); Director, ANTARCTICA — THE MONEY OR THE
GUN ON ICE Comedy Documentary 68 mins ABC TV Winner of Bronze Medal New York
Festival 1994 (1993-94); Senior Producer, ATTITUDE series 1 & 2 ABC TV Winner of United
Nations Human Rights Committee Media Peace Prize 1994 for the program "Indigenous
Culture" (1993); Project Coordinator/Co-Executive Producer STOMPEM GROUND '92 (7
hour live national simulcast of Aboriginal music & dance from Broome WA) ABC TV, Triple J
Network, ABC Regional Radio (1992); Station Manager, TRIPLE J NETWORK (1988-92);
Program concept originator, Producer/Researcher & Interviewer BLAH BLAH BLAH series 1
& 2, ABC TV (1987-88) Reporter BEATBOX 1985, Reporter/Director BEATBOX 1986, ABC
TV (1985-86);
7
LIZ WATTS
Producer
Liz Watts has been working in the film and television industry for over 10 years. Originally
from a cinematography background, she moved into the production area where she has
been working on a range of projects from dramas to high-end quality documentary series
over the last 4-5 years. Positions held have included work at Beyond Television, Film
Australia and Southern Star Entertainment, where her role as development and production
manager encompassed budgeting, assessing scripts for production financing, scheduling
and overseeing the development of projects, as well as supervising production on a long
running children series.
In 1997 Liz co-founded Porchlight Films Pty Ltd in order to develop and produce
independent productions including dramas and documentaries. In 1998 Liz produced an
ABC/FFC documentary, The Pitch, which enters the ‘war rooms” of a Sydney advertising
agency and Island Style, a documentary for SBS financed through the FFC, looking at
Sydney’s growing population of Islander youth and their music. Liz completed production on
Help Me in 1999, a short drama financed through the AFC which was a finalist in the 1999
Dendy Awards, and has screened at Telluride in the US amongst many other Festivals
around the world.
Liz most recently produced the Film Australia documentary, Buried Country which focuses
on Aboriginal country music in Australia over many decades. She is now working on a half
hour drama for SBS Independent, Delivery Day, and is developing amongst other projects, a
feature film, Live and Die (Director Tony Ayres) with support from the AFC and SBS
Independent.
8
CLINTON WALKER
Writer
Clinton Walker has been a writer for over 20 years. In that time he has published five books
and is now recognised as one of Australia’s most acute and colourful commentators on
popular culture and music. He originated the Buried Country project, co-writing the script for
the film and writing the book, his sixth, for simultaneous release by Pluto Press, as well as
producing the 2CD soundtrack for Larrikin Records.
After dropping out of art school in Brisbane in the mid-seventies, Clinton was inspired to write
by the D-I-Y ethic of punk. His first book, Inner City Sound (Wild & Woolley, 1981), is now
regarded as a classic. During the eighties, Walker worked constantly as a freelance journalist
for The Age, Rolling Stone, The Bulletin, Playboy, New Woman, Follow Me, Stilleto and
Ram.
He’s also lived the low-life. He has worked in food as infrequently as possible; more often he
has worked as a DJ. In 1987, he played the Tamworth country music festival as a member
of the hillbilly-grunge band The Killer Sheep, and was run out of town.
In 1990, Walker moved to Sydney’s inner-west. In 1991, he was married. In 1994, he had his
first child, and Pan-Macmillan published his third book, the biography of Bon Scott, Highway
to Hell and in 1996, Stranded: The Secret History of Australian Independent Music, and in
1998, Football Life.
Walker has won no prizes, has never been asked to write a column and never appeared on
a TV opinion show. He is currently working as co-presenter of ABC-TV late-night live music
show Studio 22.
9
THE MUSIC
“Blackman’s Stories”
Written by Buddy Weston
Performed by Roger Knox & The Euraba Band
Courtesy of Opal Records
“Royal Telephone”
(Trad) Arr H. Saunders, R. Iredale, T.Tycho
Performed by Jimmy Little
© 1963 Crown Publishing Pty Ltd.
All rights by Belinda Music Aust. Pty Ltd
under license by
EMI Music Publishing Aust. Pty Ltd
Licensed from Festival Mushroom Group
“I’m Happy in The Land Where I was Born”
Written by H. ‘Smokey’ Dawson
Performed by Jimmy Little
© 1953 Allans Music (Aust) Pty Ltd
under license by EMI Music Publishing Aust. Pty Ltd
Licensed from Festival Mushroom Group
“Give the Koori Lad A Chance”
Written by Jimmy Little Snr
Performed by Jimmy Little
Courtesy of Jimmy Little
“The Black & White Cat” (Trad.)
Performed by The Brown Brothers
under Control
“Gumleaf players”
From the film The Squatters Daughter
Courtesy of Cinesound Movietone Productions
“Mule Skinner Blues”
Written & Performed by Jimmie Rodgers
Courtesy of Peermusic Australia
& BMG Music Pty Ltd
“Noah’s Ark”
Written by Gene Autry & Smiley Burnette
Performed by Gene Autry
from the film The Phantom Empire
courtesy of Movieland
& Universal Music Publishing
“Cream in Between”
Written & Performed by Tex Morton
© Courtesy of ABC Footage Sales &
EMI Music Publishing Aust. Pty Ltd
“The Plains of Peppimenarti “
Written & Performed by Slim Dusty
from the film The Slim Dusty Movie
Courtesy of Slim Dusty, Joy McKean
Kent Chadwick & EMI Music
Publishing Aust. Pty Ltd
“Old Aboriginal Stockman”
Written & Performed by Herb Laughton
Courtesy of Herb Laughton
“Ghan to Alice”
Written & Performed by Herb Laughton
Courtesy of Herb Laughton
“Baby Blue”
Written by J. Bouwens
Performed by Auriel Andrew from the film,
Frontiers Downunder, The Country Outcasts
Courtesy of Film Australia Footage Library
& © 1974 Witch Music/EMI Music Publishing Holland BV,
Licensed by EMI Music Publishing Aust. Pty Ltd
“Love’s Gonna Live Here”
Written by Buck Owens
Performed by Auriel Andrew
From the television show,
Reg Lindsay’s Country Hour
© 1963 Blue Book Music Inc.
All rights by Belinda Music (Aust) Pty Ltd
under license by
EMI Music Publishing Aust. Pty Ltd
& Reg Lindsay & Geoff Mack
“Cut A Rug”
Written & Performed by Dougie Young
Courtesy of AIATSIS & the Young Family
“ Just A Closer Walk with Thee”
Trad: Arr N. Gilmour
Performed by The Assang Brothers
under Control
“Brown Skin Baby”
Written & Performed by Bob Randall
Courtesy of Bob Randall &
ABC Footage Sales
“I Thank You”
Written by John Young
Performed by Lionel Rose
© Chappell Morris Ltd.
Used by kind permission of Warner Chappell Music
Australia
Licensed from Festival Mushroom Group
“Jackson’s Track”
Written by Laurie Allen
Performed by Lionel Rose
Published by Festival Music Pty Ltd Aus.
Licensed from Festival Mushroom Group
“Gurindji Blues”
Written by Ted Egan
Performed by Galarrwuy Yunupingu
Courtesy of ABC Footage Sales
& BMG Music Pty Ltd
“Namatjira”
Written by Slim Dusty & Jim Wesley
Performed by Gus Williams from the film
Frontiers Downunder, The Country Outcasts
Courtesy of Film Australia Footage Library
© 1964 EMI Music Publishing Aust. Pty Ltd
“Stranger in My Country”
Written & Performed by Vic Simms
Courtesy of Vic Simms
10
“Wayward Dreams”
Written & Performed by Bobby McLeod
Courtesy of Bobby McLeod
“Malabar Mansion”
Written by Dave Duncan
Performed by Mac Silva
Courtesy of Enrec Studios (control)
“Midnight Special”
Written by Leadbelly
Performed by Mac Silva
from the film
Frontiers Downunder, The Country Outcasts
Courtesy of Film Australia Footage Library
& Rondor Music Australia
“Black & White Tangle”
Written by Terry Hall
Performed by Col Hardy
Courtesy of Prime TV &
Festival Mushroom Records
“Koori Rose”
Written by Merv Lowry
Performed by Roger Knox & The Euraba Band
Courtesy of Steve Newton under Control
“Waljar, Jiddin Jiddin”
Written & Performed by Kevin Gunn
Courtesy of ABC Footage Sales, Goolarri Media Broome
& Kevin Gunn
“Streets of Tamworth”
Written by Harry Williams
Performed by Roger Knox & The Euraba Band
Courtesy of Yeldah Music
“Streets of Old Fitzroy”
Written by Harry Williams
Performed by The Country Outcasts
Courtesy of Yeldah Music
& BMG Music Pty Ltd
“The Resurrection”
Written & Performed by Bobby McLeod
Courtesy of ABC Footage Sales
& Bobby McLeod
“Guitar Instrumental”
Performed & arranged by Harry Williams
Performed by The Country Outcasts
from the film
Frontiers Downunder, The Country Outcasts
Courtesy of Film Australia Footage Library
“Blue Gums Calling Me Back Home”
Written by Harry Williams
Performed by The Country Outcasts
Performed by Roger Knox & the Euraba Band
Courtesy of Yeldah Music,
Hadley Records
“One Big Land”
Written by T. Cassar-Daley,
G. Porter, C. Buchanan
Performed by Troy Cassar-Daley
Courtesy of Troy Cassar-Daley, Rondor Music
and Warner/Chappell Music Publishing
“Yorta Yorta Man”
Written & Performed by Jimmy Little
Courtesy of Jimmy Little
Soundtrack available through Larrikin / Festival, Australia
ARCHIVE FOOTAGE AND MATERIALS COURTESY OF
ABC Footage Sales
Screensound Australia
CAAMA Productions
Filmworld
Goolarri Media Enterprises Broome
Cinesound Movietone Productions
Gaylord Entertainment USA
Festival / Mushroom Group
Film Australia Footage Library
Alick Jackomos Collection, Audio-Visual Archives,
AIATSIS
Kirby Collection, Audio-visual Archives, AIATSIS
The Australia Council
BP Australia Ltd
Wanda Braybrook
Excerpt from “The Slim Dusty Movie” courtesy of
Kent Chadwick , Slim Dusty & Joy McKean
Excerpt from “Yothu Yindi: Tribal Voice”
courtesy of Mushroom Pictures
National Trust of Australia, Alice Springs W. Boehm
collection
The Hon. Mr Justice B.S.J O’Keefe, AM
Russell Kennedy, Ross Close - ONSET Productions
Prime TV
Quadrant Magazine
The Seven Network
The Hon J.J. Spigelman, QC
NEWSPAPER ARTICLES AND IMAGES REPRODUCED
WITH PERMISSION OF
John Fairfax Holdings Ltd
News Ltd
Northern Daily Leader
Country Music Association, Nashville, USA
Fairfax Photo Library
Centralian Advocate
Department of Aboriginal Affairs
Ian Hands
Jimmy Little
Moviebank
11
THANKYOU TO THOSE WHO SUPPLIED ADDITIONAL MATERIAL
Patricia Davis-Hurst
Enrec Studios
Hadley Records
Cole Joye
Geoff Mack & Reg Lindsay.
Opal Records
Heather Perryman
Evelyn Silk
Brian Young
Margo Young
AND THEIR OWN PERSONAL RESEARCH
James Wilson Miller
Chris McGuigan
MANY THANKS TO THE FOLLOWING FOR THEIR HELP IN MAKING THIS FILM
Maisie Kelly
Simon Drake
Qantas Airways
Gary Seeger, Festival Records
Warren Fahey
Belinda Yates, EMI Music
Alana Harris AIATSIS
AND
Tiga Bayles, Korina Ashbrook, Mark Bin Bakar, Blackbutt Reserve Newcastle,
Buddy & the Knox Family, Paul Boyd, Caroline Brown, Geoff Brown, Ernie Bridge,
Jacqueline Bethel, CAAMA Radio, Steve Cannane, Buddy & The Knox Family, The Central Land Council,
Clohesy Country Gardens, Kuranda, Australian Country Music Foundation, Country Music Association Aust., Country Music
Gallery of Stars, Tamworth, Leon Concannon EMI, Martin Delaney, Department of Corrective Services - Bob Stapleton and
John Patridge, Elizabeth Durack, Ted Egan, Wendy Farley, Sally Galway, Erika Glynn, Friends of Edithvale Wetlands, The
Golden Guitar Tamworth, Kevin Gunn, Gavin Jones Communication, ICAM SBS, Dalys Jacobsen, David Jowsie,
Dempsey Knight, Sashka Koloff SBSI, La Pa Lapa Aboriginal Land Council, Mayfield Ex-Serviceman’s Club, Marj Little,
Matthews Music, Joy McKean, Melbourne Water, Menindee Land Council, Merrimans Land Council, Dolly Morcillo,
Narooma Kinema, Neville Progress Association, Newcastle City Council, Steve Newton, Adler and Rosemary at Northern
Land Council, Parks & Wildlife Commission of the Northern Territory, Kathleen Phillips, Jim Ridgeway, Archie Roach,
Eric Scott, Vanessa & Angela at Sony Music, Chris Sullivan, Tiddas, Tamworth City Council, Doug Trevor, Ian Walker,
The Warumpi Band, Diana Williams, Sue Wye, Governor of Bathurst Prison and Robbie Young
Music Licensing LIZ WATTS
Music Consultant CLINTON WALKER
© Film Australia 2000
12
Download