This is the temporary Christmas Tree outside last year. It was too hot to sit inside with our decorations and Christmas Tree without air-con, so had to improvise – even though our garden looks like a desert in the 40 Deg C heat! We’re renovating and guess what? It’s going to be 41 Deg C tomorrow, so this time we’re taking no chances and decamping to my daughter’s air-con, south of Perth.
I wanted to wish you all a very happy and safe christmas, spent with those you love. May 2026 bring you all you need and maybe something you wish for too.
Thanks for reading my humble words.
(Photo taken down the road in 2006, on Hillarys Beach, for the Notebook Magazine story about how we reunited after 28 years.)
A generous man and great loss to entertainment. Long ago and far away, Garry awarded a short film made from my script ‘Love You Mum’ and offered to ‘see more’ from the filmmakers. Although his focus was on the young student filmmakers, a small moment of indirect personal validation from such an august and revered writer/producer, gave me great heart and kept my hopes alive. Thank you, Garry Marshall.
Garry Marshall: a genuine mensch who made everything improbably joyous.
This short film of my script was produced and directed by students from Adelaide Centre for the Arts and awared more than 30 times by various festivals in the America, Canada and Australia. I will always treasure the very kind words from Garry Marshall – a director whose many films I have loved.
In 1985 Peter Aquilina got me a 6 week temp assignment as Secretary to the Managing Director Mike Dorsey (‘Daddy’ of No 96 fame) for a the regional TV Station in Tuart Hill, Mid-Western Television. After three days, he discovered I was also a Writer, Director and Producer of my own small projects through Sphinx Productions, out of hours. From then on, I wrote the news for Liam Bartlett, wrote and made in-house ads in the production studio and stood in for Prod Manager Pam Borain when she was away. Then when the ‘star’ of the studio flounced out one day, I was told to gather all who wanted to be on-air for an audition upstairs. The boss asked me to write and demonstrate a ‘for instance’ script, which I did and he told all the others to go – they didn’t even get a chance. I did NOT want to be on camera – hated every minute. The only thing that saved me was the banter Peter (my cameraman) kept up, trying to make me ‘lose it’ on-air! So here’s a laugh from way back when :o))
Here’s a blast from the past – the one and only music video Sphinx Productions did, when adding story to music videos was a new thing. We shot the 1985 video in the (then) burnt-out Swan Brewery site on the Swan River, Perth City Railway Station and Fremantle streets. (Apologies for some of the presentation. It was transfered from an old stretched video tape to DVD.)
Thank you, Cathy746Books for writing about a book by one of my favourite screenwriters – love her books and films! I’m about to order it and can’t wait to read before watching on screen (as I am sure it soon will be).
Ah, the good old days… so much more complicated to shoot a 6min story. Now we do it on our phones!
‘Some Folks’ Folk’ was filmed in 16mm in 1986… It was a first production for Peter Aquilina and I as we set up Sphinx Productions.
Although I scripted the doco (a new thing in those days) and Peter edited, Friends Film Productions helped me direct and produce it.
Thanks to Heather Williams, Chris Lynch, Mathew Kelly and Roland Smith. This project was sponsored by P. Tilli & Assoc.
Of course many thanks go to Iris Jones and members of the Hills Folk Club without whom the whole thing would not have happened. Iris and I were folkie-friends so what better introduction to 16mm for me than a dramatised documentary!
Scene 1 blond body-perfect She wears corporate black casually draped label scarf her highlight-streaked tresses - hair to flick and display interest mobile-phone laugh every second pause pouted poised use of office eyes and mouth gaze-long sincerity that familiar dance with steps well known moist lips tongue-wetted backwards and forwards as she speaks intensely leaning on elbows she slides amphibiously table-hovering forward (She’s good at this) focus – focus - focus
Scene 2 His suit speaks volumes pure wool power black coat draped hair distinctively mottled silver cut just right on the neck wears no-frame glasses giving an unmistakable air of knowledge His quiet voice and intensity reveals someone very comfortable reaching goals
He orders She contributes
Soliloquy
this girl will get what She wants but what does she want don’t think it is Him for the long term uninformed He is Step One around the middle of the ladder I’d say (croissant comes coffee poured ‘My – that’s a big one!’) I almost burst out laughing at the obviousness of it all…
Scene 3 Moment of judgement He reaches over jacket pocket pulls out the ubiquitous square box covered with simple but stylish green paper (politically good colour) matching green card attached
fingers fly-feel size and shape not immediately accepted face re-clothed ‘Oh’ blush, blush, ‘…you shouldn’t have…’ decide hungry hands grasp rip the paper ‘Hmmmmmmm’ frown wins again betrays She sees white cardboard cover (still) jeweller’s box – gauche!
She furiously manipulates hands examining giving time fractions disapproving/approving milking the moment using all weapons deep questioning look tentative smile opens the offering breath explains softly gasps with cued drama held high like an Academy Award the diamonds sparkle in the early morning itinerant restaurant electrical down-lights
Scene 4 ‘Hmmmmm, this is what they are wearing nowadays…’ She puts it on – ‘it fits’ leave it there a beat let him drink the vision perfect arm held by His perfect jewels pat twice (enough) show eyes a caress take it off - put it back in the box on the table dismissed
‘Cut!’ called lurking waitress interrupts this act of Cleaning Agent (Soapy) play…
Scene 5 She insists on paying for the meal making her point pushing her notes into bored staff hands (seen the show before) scrabbling for change
they are alone again She continues to flirt now with a brilliant edge knows She’s got Him but can She still use Him He obviously didn’t give her what She expected… this time but She leans over to give Him a quick ‘Thank You’ non-sexy kiss desperate He recognizes makes a gluttonous meal
She leans back mentally puts her hands behind her head He continues to hold fast her hand trying rubbing closed fingers possessed by His hand
She slides her glance down and away-side reaches back to put her arm
through coat sleeve body to follow time to go another meal something tastier
He didn’t want this moment to happen. He is now no longer strong corporate giant but vine plucking lover wants more suddenly realizes whatever was expected wasn’t delivered He stuffed up – failed She walks out of his life He will re-grow his hard shell and make a mental note not to bend again
Music Up ‘Hello Darkness, my old friend… I’ve come to talk to you again…’
From ‘Sounds of Silence’ by Simon & Garfunkle.
Epilogue
at the next table our waiter regrets ‘No pancakes today – no facilities.’ croissants instead? scones? ‘ No, sorry, even toast couldn’t – the renovations… no coffee machine either no donut machine…’
Oh tragedy!
I look at black and white photos of war planes 50’s & 60’s stuff on the shelves the ‘Unattended Luggage…’ sign all testament to the vacuum of itinerants.
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“Those who expect to reap the blessings of freedom, must, like men, undergo the fatigues of supporting it.” Thomas Paine - "Limitation is essential to authority. A government is legitimate only if it is effectively limited." ~ Lord Acton - Commentary on what interests me, reflecting my personal take on the world
Perth Words... exploring possibilities. 