Rites of Passage is a feature length drama made collaboratively with a group of young people who dive below the surface of their often tough exteriors to reveal what’s going on inside. GENRE: DRAMA LANGUAGE: ENGLISH DURATION: 80 MINUTES
PRODUCTION COMPANY: Beyond Empathy
DIRECTOR: Phillip Crawford
PRODUCERS: Kim McConville, Anna Cater
CO-­‐DIRECTORS: Gemma Parsons, Mary Callaghan
MUSIC: Philip Okerstrom
SOUND: Andy Wright (Soundfirm, Sydney)
DIGITAL EXECUTIVE PRODUCERS: FanDependent
www.ritesofpassage.org.au
www.facebook.com/ritesofpassagefilm
www.twitter.com/befilms
For media information:
Adele Feletto Publicity M: 0413 489 292 E: [email protected]
Short Synopsis
Rites of Passage is a feature length drama made collaboratively with a group of young people who dive below the surface of their often tough exteriors to reveal what’s going on inside. Long Synopsis
Rites of Passage is a feature length drama made collaboratively with a group of young people who dive below the surface of their often tough exteriors to reveal what’s going on inside.
Filmed over three years by the community arts organisation Beyond Empathy (BE), six interwoven stories show the risk-­‐taking, disappointment, joys and love that come with growing up. While their stories might be raw and brutal, they are also full of irreverence and humour.
The stories are based on their own experiences. They might battle homelessness or addictions. They might live in public housing or come from families that have known hardship. But their performances on the screen and behind the camera prove that disadvantage needn’t dictate your future.
For these young people, making the film became a rite of passage. The authenticity that these non-­‐actors bring to the screen blurs the line between fact and fiction.
The film is an innovative collage of colour and texture, shot in glorious mayhem on cameras ranging from 16mm, Super 8, Digital SLRs, Handycams, Infrared Black and White and iPhones. It is directed by award-­‐winning film-­‐maker Phillip Crawford and funded by BE, aided by a highly successful crowd-­‐funding campaign. BE is a not-­‐for-­‐profit organisation with the catch cry: “We love art and we hate disadvantage!” Rites of Passage was shot in the Illawarra region of New South Wales, Australia.
Rites of Passage follows 10 principles:
1. The making of the film should help people living with hardship to build new futures
2. All key actors must be amateurs and live in the community where the film is shot
3. There can be no traditional script and there must be more than one story line
4. The story lines must be developed with the actors, drawing on their life experiences
5. If an actor fails to turn up, the shoot continues, creating a new direction for the film
6. The film must be shot in real locations in the community
7. Key actors and the production team should all operate cameras, sound, lighting and other equipment
8. Every scene should be shot with different types of cameras and styles
9. All the credits must be in alphabetical order, with no one credited as writer or creator
10. The first screening must be held in the community where the film was made
Director’s Statement Rites of Passage was a long time in development for me. I began working on the concept after graduating from the Victorian College of the Arts in 1998 where I focussed on film-­‐making. The idea was to create films with people who experience hardship, and use the process of film-­‐making to provide these people with positive opportunities for change. My first opportunity was with the docu-­‐drama film HURT in 1999 which was made as part of a violence prevention project funded by the NSW Government. Young people collaborated with us in the film-­‐making process -­‐ telling stories about their experiences of violence, including domestic violence and the other things that hurt people. HURT was developed into a five screen installation work for one of the first exhibitions created for the Australian Centre for the Moving Image in Melbourne.
Next came Knot at Home which aired on SBS, a TV series comprising of eight half-­‐hour episodes about young people's experiences of feeling not at home including homelessness, family breakdowns, drug and alcohol, crime, being a refugee, experiencing racism, grief and loss. Both HURT and Knot at Home became more documentary style than drama projects.
These projects began to shape my ideas about how to make a full dramatic work. There have been many great films made using non-­‐professional actors and they involved some incredible performances. I am inspired by film-­‐makers such as Ken Loach who often work with non-­‐actors. But often these directors see many people in casting sessions before they find the right fit with a character for their script.
Rites of Passage was not made like this. There was no casting. Anyone who wanted to become involved in the project via a local youth worker or health worker could have a role, and I had to find a way to make them "great" in the film. We couldn't start with a script because we didn’t know what qualities they would bring for us to create convincing stories. Instead we started with who they were and their life experiences. We shot slowly over the three years. It was really inspiring to see their performances having inhabited their film characters over that time. It was such an honour to work in this way with such remarkable people, who all held cameras and booms and burnt their fingers on the film lights and sometimes caused mayhem when we were trying to concentrate. This film also became my rite of passage.
PRODUCTION NOTES
Three Years in the Making
Rites of Passage was conceived as a community project in the Illawarra, a coastal region south of Sydney. It was made by Beyond Empathy (BE), an Australian community, arts and cultural development organisation that creates art projects with people living on the margins of their communities.
It’s a feature-­‐length drama inspired by the experiences of the participants. They might battle homelessness or alcohol abuse or drug addiction. They might live in public housing and come from families that have seen disadvantage and hardship. With honesty and courage, these young people have dipped below the surface of their often tough exteriors to reveal what’s going on inside. The first filming took place in July 2009 and the final shoot in October 2012. Over the three years of filming, the young people literally grow up in front of the camera, and this is reflected in the growing maturity of their performances as the film progresses. For the school participants, the filming was often done after school. For instance, the scenes involving the haiku poetry class were shot once a week over a period of eight months. PRODUCTION NOTES (cont.)
The 10 Principles
This film was made according to 10 principles:
1. To assist people living with hardship build new futures (the Mission Statement of BE)
Since making the film, the young people have said “It kept me out of trouble”, “It helped me deal with things like anxiety and depression” and “It was a motivational thing for me”.
The project helped two young people decide to undertake drug rehabilitation programs during and after making the film. Three people are now studying film and media at the local TAFE. One young person used the experience to make a major work for her HSC. Her short film, TITLE, was selected for ARTEXPRESS, the annual exhibition at the NSW Art Gallery featuring outstanding student artworks. Another person was picked up by a casting agent and won paid acting parts in the ABC TV Series, Redfern Now, and the feature film, Around the Block, starring Christina Ricci.
2. All key actors must be amateurs and live in the community where the film is shot
The film was mainly shot in locations around the Illawarra. Many of the young people come from the suburbs of Berkeley and Warrawong which are the most disadvantaged postcodes on the NSW south coast. With the aim of creating new opportunities for the participants, we accepted everyone who was referred by a local youth worker or health worker. Anyone who wanted to be involved was given a role – no one was left out of the film nor were any of their scenes deleted. Prior to making Rites of Passage, BE had been working in Berkeley and Warrawong for four years, conducting music, film and street art workshops with young people. Some of the cast came from these workshops, with the young people inviting their friends to also participate.
3. There can be no traditional script and there must be more than one story line
By developing multiple story lines, we aimed to spread the opportunities among lots of people. If there was only one story in the film featuring one main character, then only one person would have received all the attention. 4. The story lines must be developed with the actors, drawing on their life experiences
Non-­‐actors often turn in good performances because they’re playing a character close to their own personality and experiences. Once we knew who was going to be involved, we could then develop a story to include them ... but it wasn’t easy to write a story about multiple characters that are all the same age and all wear their baseball caps backwards!
All the stories began from the participants and then developed in different ways:
i) Some stories started as a personal story when we asked people about the rites of passage they had experienced. But no one acted out their own story, to protect their privacy. In this way we created a drama and not a documentary.
ii) Other stories grew out of real-­‐life situations. The skateboarders really are into skateboarding and filming everything they do. When we were developing their story, it seemed feasible to get them to film something that they shouldn’t.
iii) Or stories just arose from needing to have a dramatic moment for a character. Kane, who plays the boy who writes a poem about his grandmother, doesn’t have a grandmother with dementia, but we developed this to get him involved in the poetry writing.
5. If an actor fails to turn up, the shoot continues, creating a new direction for the film
This principle was created out of necessity. During the making of the film, participants got pregnant, went to rehab and got locked up so their stories needed to be adaptable. The flexibility in the stories allowed people to come in and out of the project depending on their changing circumstances. Being spontaneous often added interesting elements. In Roman’s falling in love story, we didn’t plan to film him looking at his reflection on the back of a spoon and later in a pond, they just happened.
6. The film must be shot in real locations in the community
People who experience disadvantage often lead isolated lives. The exposure of shooting in the community often drew other people into the project or broadened the social connections of participants. It also means a bigger local audience comes to see their community in the film. The skateboarders’ story was shot in the Bundaleer Estate, a housing commission on the northern side of Lake Illawarra. Much of the dog story was shot in Berkeley. Roman’s story was shot in a semi-­‐rural area about 20 minutes away, called Marshall Mount. The interior scene of Roman’s story and the party scene were shot in a house owned by the community organisation, Barnardos.
Being on set would probably make most people raise their eyebrows and wonder how on earth the film ever got made. Phil, the director, got a bucket of water thrown on him by an irate man who lived next door to where we were filming the boys doing graffiti with condensed milk. The man got sick of the noise the boys were making. It was all sorted out and afterwards Phil went into the man’s house and had a cup of tea and looked at his paintings.
The fire scene was shot in bush just north of Wollongong. Chaise, plays the lead role, was picked up at 6am and went all day. Daniel helped Lou, the special effects guy, operating the smoke machine and the fire pipes, and ran around lighting little flames on the side of trees, which the Rural Fire Service guys duly put out when the take was finished. At the end of the day we found ourselves locked inside this protected area so we didn’t get home till well after 8.30pm. It meant an extra-­‐
long day for everyone, especially Chaise.
7. Key actors and the production team should all operate cameras, sound, lighting and other equipment
Often people initially said they didn’t want to be in the film but were happy to help. Assisting behind the camera helped to build the confidence of participants and their capacity to work in a team. With our tiny budget and basic equipment, we couldn’t hope to match the big blockbusters. Instead we went our own way, revelling in a home-­‐made, hands-­‐on, low-­‐tech style. Often we would explain to someone how to operate the camera, how the focus worked, how to monitor the sound. The person would operate the camera for one take and then say: “My back is sore, can someone else do it?” We would have to repeat the whole routine again with someone else (you hear a bit of this chaos in the opening prologue of the film).
8. Every scene should be shot with different types of cameras and styles
Our process was often opposite to the usual way of making feature films, which have a central character and a short shooting period to overcome any continuity issues. We decided to match our more collegiate process with a similar visual style. For example, with the classroom scenes, some were filmed on sunny days and others on cloudy days. To bypass the need for continuity in the weather, we often filmed in colour or black and white or infrared. This added a dynamic edge to the film and exploited its rawness, which added to the authenticity of the film.
We decided to make the film resemble a collage, stitching together shots from different cameras and approaches. This enabled us to work quickly and make the most of our basic equipment. We may not have had controllable lights or big frames to diffuse light but we still wanted the shots to have character and look striking and beautiful. A rundown of the different elements:
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Two old Super 8 cameras with black and white stock. Super 8 has such an element of memory for all of us ... the way the grain swims and how it doesn’t reveal everything, even aggressive adolescent pimples. -­‐
An old 16mm Eclair film camera, a heavy old beast. All the 16mm footage was shot on Reversal Stock (slide film) but processed as if it is negative, which increases the contrast and saturates the colour. It works great with flat lighting, which was perfect for us. We used the short ends from old stock and exploited its imperfections to add to the rawness.
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After seeing the 1950s’ film Soy Cuba by Russian director Mikhail Kalatozov, which was shot on infrared 35mm film, we worked out how we could use a similar approach using a Sony A1 HDV camera. This created the infrared black and white footage with dramatic contrasts. It makes the leaves on the trees go extremely white, almost like snow. We wanted to find the beauty in the locations and this footage really added to that. It also proved to be great in the fire scenes, helping the flames stand out against the backgrounds. -­‐
The main camera was the Sony A1, the cheapest HDV camera. We added a Depth of Field Adapter so we could use old Canon FD stills camera lenses, allowing us to work with a shallow depth of field in a far greater way than these cheap cameras permit. -­‐
During the three years of filming, digital SLR cameras became much cheaper and were used towards the end of the shoot. They were a real lifesaver when working with low light.
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We used iPhones and a Flip camera to film in places where we wanted to be inconspicuous. Sometimes it was just fun to give one of the cast members the phone and see what they captured. -­‐
We also used a Lens Baby and a Tilt Shift lens. Some of the Super 8 was done using Stop Motion i.e. taking a single frame at a time. 9. All the credits must be in alphabetical order, with no one credited as writer or creator
The stories were developed by many people, making it impossible to credit any one person. We decided to put all the participants, cast and crew in alphabetical order so no one’s role is given more prominence.
10. The first screening must be held in the community where the film was made
We wanted all the participants to get a big buzz from the response from their own community. The premiere screening was the first time many of the young people had been acknowledged by their community for doing something positive. We didn’t make the film to get brownie points from the film industry. And we didn’t want to exploit the young people for us to make a film and then walk away. Detailed Narrative Synopsis
Rites of Passage opens with a sequence that reveals that the film has been made collaboratively with young people who have experienced hardship in their lives. It does this through a set of 10 Principles that give information about the process used to make the film. The 10 Principles appear on Text Cards and are intercut with images that set the scene for the film in terms of the locations, types of characters and stories the viewer will encounter in the rest of the film. The last of the 10 Principles states that the film must screen first in the community where the film was made. We see the name Rites of Passage is on the billboard outside the cinema where a young man is standing. We see people entering the cinema and taking their seats. The film begins.
There are six stories that are intercut through the body of the film:
1) The Poetry Class Story
Ty and Kane and their classmates are in Year 10. Their English teacher Mrs Kaye is away caring for her dying father, and they take advantage of their relief teachers by mucking up. Mrs Kaye returns and tells the class her father died. This prompts Ty to write a poem about his own father’s death which stimulates the class to also write poetry based on their personal experiences. Kane writes a poem about his grandmother who has dementia and Sienna writes a poem about caring for her mother who is ill. Their drama teacher Mr Lewis encourages them to turn their poetry into a performance for the end-­‐of-­‐year talent quest. Ty and Kane are concerned they will make fools of themselves in front of the school but eventually come around. Their performance becomes a composite poem based on all their experiences, and the school audience who are skeptical at first become affected by their heart-­‐felt honesty.
2) The Thief Story
The Thief breaks into houses, using the cash and stolen goods to buy cannabis. He is homeless and sleeps on the couch at a mate’s place. On one of his break and enters, he steals a birthday card written to a ‘Mum’. It is also his mother’s birthday and he visits her, giving her a bracelet he has bought and the stolen card. She doesn’t accept the gift as she thinks it’s stolen. The Thief asks his mum if he can join his father and her for their celebration that evening but she says the relationship between the Thief and his father is too strained. Even though she is touched by the words in the card, his plea to her that he just wants to play happy families seems to fall on deaf ears. Just before Christmas, the Thief and his mates do another break and enter. One of the boys finds a stash of wrapped Christmas presents. The Thief tries to stop his mates from stealing them. But he is over-­‐
ruled. He leaves his mates opening the presents while in another part of the house he finds some cash which he doesn’t tell his mates about. Afterwards he uses this secret stash of money to buy the stolen goods back from the person they sell them to, and returns the presents to the family. He drops off presents on the doorstep of his parents’ house then walks off to spend Christmas alone.
3) Roman’s Story
Roman, his sister and his mother are moving house again. They arrive at a new house in the country which Roman is not happy about. Roman likes to draw, and he makes a sketch of the new house. His sister is in his bedroom, looking through his drawings ... at a picture he drew of their father. Roman and his sister have no relationship with their father whom the family have been trying to get away from. Roman tells his sister about a time when their mother would send Roman a text message saying ‘Hide and Seek’ if their dad turned up. That was Roman’s cue to hide them both until the coast was clear. Roman eyes off a pretty girl, Amyleigh, whom he sees riding a horse near his home. They start a relationship, going on a trip to the local waterfall with friends. Later when she tries to get more intimate, Roman pulls away. He starts to ignore her phone calls. Amyleigh’s brother confronts Roman, telling him to stop treating her sister so badly. Roman collects his drawings and goes to visit Amyleigh. He uses his drawings to tell her the story about his father, confessing that his real name is Blake but that his mother changed her name and all of their names as a way to hide from their father who was violent. Roman tells Amyleigh that he pulled away from her because he felt like a liar, because she didn’t really know who he was and because they have moved so often he finds it hard to get close to people. Later Roman is with Amyleigh when he gets a text message from his mother, saying ‘Hide and Seek’. At home he finds his mother packing. Roman’s father’s cousin, his Aunt Jacinta, has turned up at his mum’s workplace, prompting his mother to want to run again. But Roman is fed up with the family being on the run. He goes to talk to his Aunt, planning to ask her not to tell his father where they are. Aunt Jacinta agrees not to tell but Roman realises that this will not alleviate his mother’s fear of what could happen. Roman goes back home and tells his mother that he has said goodbye to Amyleigh -­‐ and he will pack and come with the family, because that’s what his mother wants to do. Roman is woken up by the beeping of a car horn. He rushes downstairs and finds his mother and sister in the car all packed up. His mother tells him he isn’t coming with them. She has arranged for Roman to stay with Amyleigh’s parents and go to art school as he had planned. She realises that he’s grown up that he’ll be ok if she lets him make his own decisions and shape his own life.
4) The Skaters’ Story
Chris and his mates spend most of their spare time making skateboard videos. Jo, a neighbour of Chris’s, lets the gang use her driveway. Chris videos Jo and becomes infatuated with her. He films her through her window getting undressed at night. He films her fighting with her partner Phil. He films her face with a black eye. He records the sound of Jo and Phil arguing one night. The gang are worried about Jo when they haven’t seen her after this violent sounding altercation and they contemplate giving their secret footage to the police. When Jo turns up and returns to the house Chris carries her bag inside, leaving his camera on the table to secretly film Phil apologising. Chris decides to give Jo a DVD of their footage, thinking she might like to use it for a domestic violence complaint to the police. But Jo has decided to stay with Phil and doesn’t appreciate the DVD. Though she can see that Chris is sweet in the way he is trying to help her, she makes him promise to stop filming her and asks him to delete all the video files of her on his computer.
5) The Party Story
Skie and Diahna, both 16, are hanging outside a bottle shop, looking for someone to buy them alcohol. A man agrees to buy them a bottle of Vodka. It’s cold outside, and he tells them to get in his car to keep warm while they’re waiting for his mate who is buying the supplies. Skie and Diahna go in the car with the boys to a house where there is a party. They meet Dal, who seems like the leader and a nice guy and makes them feel welcome. Skie smokes some cannabis and starts having fun. Diahna is not so adventurous, and a young man secretly spikes her drink to get her into the party mood. She starts to feel unwell and goes to the toilet. The party deteriorates and two of the boys start competing for Skie’s attention. One of the other men in the house takes Skie’s mobile phone and removes the sim card. Diahna begins to feel worse and Skie asks to be taken home. A fight erupts and the boy that Skie has been flirting with gets kicked out of the house. Skie tries to call her mum and realises her Sim card is missing. A young woman arrives at the house asking Dal for drugs. She doesn’t have any money so she agrees to exchange sex with one of the young men in the house for the drugs. Skie appeals to Dal about her missing card. He reveals that he has the card and tries to use the return of the Card to proposition her into having sex with him. She is rescued from this moment by Diahna who suddenly dashes to the toilet to throw up. Skie goes to help her friend in the toilet but from here she can see into the room where the young man and the woman are having sex. Some of the other men are in the room watching them and egging the boy on. One of the men who is watching is aware that Skie can see them and looks at her. She looks away horrified and terribly aware of how trapped she and her friend are.
6) The Dog Story
Chaise lives with his father and Uncle Troy. He and his mates, all around 14 years old, are into causing mayhem – shoplifting, trespassing, playing with lighters, hanging at the shops. Wherever Chaise goes so does Sam, his uncle’s black German Shepherd, who seems as wild as Chaise and the boys. One day Chaise goes fishing with his father and uncle, leaving the dog behind. They return to find that the dog has pulled all the clothes off the line. Uncle Troy threatens to take the dog to the pound, much to Chaise’s consternation. Chaise and his mates borrow a book on how to train a dog from the local library. Dog training starts poorly but the boys gradually make headway. Chaise wags school and is busted by his father who is feeling the pressure of looking after Chaise after when his mother kicked the boy out for being uncontrollable. His father is trying to get things right and not get any welfare organisations involved. Chaise persists with the dog training and makes Sam obedient. His father and Uncle Troy are impressed with how well he has trained the dog. Chaise and his mates love playing with fire and on one occasion Chaise accidentally sets fire to his jacket. The dog is always warning them about their aberrant behaviour by barking at them but they pay no attention. One day when mucking around in the local bush the boys light a fire under an abandoned car. The fire gets out of control and they run away. In the mayhem of their exit from the scene, Chaise falls over, knocking himself out. He comes to with the dog tugging at his sleeve and whining. By now the fire has spread and they are surrounded by fire and dense smoke. Chaise grabs his dog and tries to escape. He can hear the siren of a fire engine in the distance. The dog runs off in the direction of the fire engine but is hit by a falling tree. Chaise tries to pull Sam out from under the burning tree but the dog is dead and in the end Chaise is forced back by the smoke and heat. He staggers through the smoke, finally sees a fire engine in the distance and gets out, alone...
The six stories conclude in a montage of images intercut with the fire from the dog story. The montage ends with the scene from the Poetry Class storyline where the class is performing the poem about Ty’s father who died. At the end the film cuts to the cinema where we see the emotional responses of the cast members watching the finished film for the first time. We see Chaise, the Thief, Ty, Kane, Sienna, Chris and others in the cast. We see their joy and elation at having participated in a the making of this film and their happiness from having made their local community and families proud of their extraordinary performances and hard work.
MAIN CAST
Biographies Chaise Barbaric – Dog Story
Chaise, 15, lives with his family in Barrack Heights. He likes riding motorbikes and surfing. He is studying for his year 10 certificate at Warilla High School and wants to work towards owning his own motorbike shop. “Making this film has been heaps of fun. I hope a lot of people get to see it”.
Skie Carlson – Party Story
Skie, 17, lives with her boyfriend and his family in Dapto. She is studying for her HSC at St Josephs High School in Albion Park and works part time in retail. When she finishes school she would like to work in child care.
“It was really exciting making this film and a great experience for me. I’m looking forward to seeing how far it is going to go”.
Daniel de Filippo – Roman’s Story
Daniel, 22, lives in his own apartment in Wollongong. He is currently studying a Diploma in Screen and Media at Wollongong TAFE. He is working on producing a Tropfest film for 2013.
“This film has changed my life”.
Tiran Dingle – Thief Story
Tiran, 2, lives with his family in Warilla. He graduated from the youth rehabilitation centre Triple Care Farm in early 2013 and is now looking at training as an apprentice in construction. He is also hoping to further his education so he can eventually join the army.
“Doing this film has been hectic. It’s been a great opportunity for me. I’d recommend it to anyone”.
Lakia Igano – Poetry Class Story
Lakia, 19 years, lives in her own apartment in Wollongong. She is studying business and planning to do a course in Interior Design and Events in 2014.
“This film taught us not to let the negative define who we are and who we will become”.
Kane Porter – Poetry Class Story
Kane, 17, lives with his family in Warrawong. He is studying his HSC at Warrawong High School and, when he isn’t at school, he is working for a local plumbing business. He is also looking forward to becoming a father.
Elias Rees – Poetry Class story
Elias, 18, lives with his family in Berkeley. Since being involved with Rites Of Passage, Elias’s acting career has taken off. In 2012 he featured in the ABC series Redfern Now, the feature film Around The Block and a short film, The Chuck In, that was in the official selection for the Sydney International Film Festival. He wants to become “the Australian Denzel Washington”. “I loved making Rites Of Passage. We all tried really hard and it payed off big in the end”.
Chris Simpson – Skaters’ Story
Chris, 18, lives with his family in Warrawong. In 2012 he got a job as a trolley boy at a local shopping centre. He enjoys work and spending his hard earned cash. Chris has gained three years of metal fabrication qualifications and hopes to one day to be a motorbike mechanic. Making the film has “helped me with my communication skills. I was always shy, but not anymore. I can do anything now”.
Director – Phillip Crawford
Phillip’s unconventional approach to filmmaking is reflected in the awards he’s received: an award from the Australian Film Institute (AFI) for a unique film concept (HURT), a Film Critics Circle of Australia award for the innovative combination of documentary and fiction (HURT) and an Arts Justice Fellowship from the NSW Law Foundation (HURT). From 15 years ago, when his graduating short film from the Victorian College of the Arts "Denial" screened around the world and took out Best Short Film Prize at five national and international festivals, Phillip’s films have explored the borderlands of film making. Phillip uses the process of making a film to create opportunities to address disadvantage and develop resilience among people who have experienced hardship in their lives. Building on his experiences as a youth worker Phillip worked as a youth worker and children's worker in Dundas in Western Sydney from 1988 through to 1995. During this time Phillip worked with vulnerable young people and their families supporting them in the complex issues they faced. He also developed innovative school based programs in social development. In Melbourne while he was at film school he worked in schools running the social development program he developed in NSW and also working in various supporting accommodation services for young people not able to live at home. Since finishing film school, Phillip's films have been based on collaborations with people who would never normally be involved in film making. Phillip’s films have screened at national and international festivals in Sydney, Melbourne, Adelaide, Clermont Ferrand, Oberhausen, been broadcast on Arte and Channel 4, SBS ,ABC, and won many nominations and awards include one AFI Award win for HURT and five nominations including for Best Editing twice and Best Screenplay, Best Director Award given by David Stratton and Margaret Pomeranz at Watch My Shorts -­‐ Melbourne for First Love, The Rouben Mamoulian Award for Best Overall Short Film at the Sydney International Film Festival, for their distinct vision and approach.
Some Quotes from Phillip Crawford about the film
“For me as a film-­‐maker, inspira2on comes from the moments when people face internal turmoil – guilt, responsibility, regret – and manage to find construc2ve and hopeful ways to deal with the pain involved. Some2mes the way people deal with that pain doesn’t always make sense but I find looking at those moments, we realise what it really means to be human.”
“As a youth worker for over 25 years, I have met people who have gone through extraordinary hardships but they have a resilience that I find truly inspiring. It gives them the ability to navigate through the challenges that come their way and make sense of their oHen crazy worlds,”
“When young people go through difficul2es or par2cularly painful periods, if they have at least one parent who hangs in there and tries to find ways to talk to them, they are more likely to have a ‘safe base’ to explore the trials of adolescence. The stories in Rites of Passage hopefully encourage these conversa2ons between young people and their parents to talk about life and growing up. There are never simple answers but staying in the conversa2on can be a lifeline”.
STILL IMAGES
Please go to h3p://www.flickr.com/photos/96785208@N05/sets/72157633856456230/ for a set of sLlls for the film Rites of Passage which can be downloaded.
Please go to h3p://www.flickr.com/photos/96785208@N05/sets/72157634037934124/ for a Director’s Photograph of Phillip Crawford
Poster
Please go to h3p://www.flickr.com/photos/96785208@N05/sets/72157634776408820/ for posters for the film Rites of Passage which can be downloaded.
RITES OF PASSAGE
PRODUCTION CREDITS
(All sections of Production Credits are in Alphabetical Order)
YOUTH CAST/CREW and STORY CREATORS
Sarah Addison
Student Who Rips all over Kane’s Poem
Chaise Barbaric
Lead Actor Dog Story who did his own stunts!!!
Bailey Blundell
Long haired student in Poetry Class Story
Ivan Buchanan
Shirtless Thief in Xmas Break In and Backflip Dude
Lucas Buchanan
Toothpick Thief in Xmas Break In and Peacekeeper in Party House Story
Shayla Bullock
Student who Thinks Haiku Poems Should Stay in Japan
Craig Carlson
One of the Boys in the Dog Story
Skie Carlson
Lead Actress in Party House Story
Joel Carlson Boy with Eshay Cap in the Second Shot of the Film and He’s in the Dog Part too
Amy Carlson
Pregnant Young Woman at Beginning, with her Son in the Middle,
and Pregnant with Daughter in End Credits!!
Jessica Clark
Student in Poetry Class Story
Daniel De Filippo
Lead Actor in Roman’s Story, Key Crew, Key Story Developer
Tiran Dingle
Lead Actor in Xmas Thief Story, Key Story Developer, Key Crew
Jai Fenwick
Boy Washing Hands in Opening Sequence, Crew
Brandon Gee
Mate in First Break In from Xmas Thief Story
Joseph Gillett
Skateboader who says “Zoom in a Bit”
Cassandra Hallam
Student with Most Different Hair Styles in Poetry Class Story
Corey Hamilton
Amyleigh’s brother in Roman’s Story
Summer Harris
Summer “Better Not Be Porn” Harris in Skateboarders’ Story, Key Crew
Joshua Hearnden
Guy in Dog Story who DOESN’T Play with Lighters
Thomas Hetet
One of the Boys in Dog Story
Scott Hudson
Key Camera, Sound and Lighting Crew
Lakia Igano
Student who Cares for Her Sick Mother
Shaniece Igano
Student who Reads a Poem About Family Break Ups
Dylan Ison
Boy who Eats Dog Treat
David Johnson
Boy in Dog Story Who Chucks Stuff in Fire
Frankie Kuzba
One of the Boys in Dog Story and Guy on the Roof in Opening Credits
Dylan Lawrence
Skateboarder who filmed Security Guard
Diahna Ljubovic
Diahna in Party House Story
Dragan Ljubovic
Young Man who is Father of the Baby and then Young Child
Ashlee Lockett
Student in Poetry Class Story Who Calls Kane a “Dick Head”
Myles Martin
Skateboarder who Ends up on Crutches
Iesha Martin
Student in Poetry Class Story who Asks Teacher Why She’s Been Away
Taylor Mason
Student in Poetry Class Story who Does First Poem in Drama Class
Lincoln McGee
Boy Who gets Dragged Around by the Dog
Michael McKay
Mate in Xmas Thief Storyline, Key Crew
Dylan Moore
Juggler and Crew
Brianna Muir
Young Woman Walking on Beach, Key Story Developer
Gordon Parker
Mate in 2nd Break in in Xmas Thief Story
Jayden Poole
One of the Boys in Dog Story
Kane Porter
Kane in Poetry Class Story
Elias Rees
Student Whose Father Died in Poetry Class Story
Guy Shareef
Older Boy who laughs at the Boys with the Dog Training Book in the Dog Story
Chris Simpson
Lead Character in Skateboarders’ Story
Bayley Sloane
One of the Boys in Dog Story
Samantha Spence
Student in Poetry Class Story
Natasha Staffiere
Student in Poetry Class Story
Zac Steele
Camera, Sound and Lighting Crew
Ahmad Sultam
One of the Boys in Dog Story
Rylee Thomas
Student who reads Haiku Poem about Lollies
Jundamurra Walker-Atkinson
One of the Boys in the Dog Story
Dean Ward
Student in Poetry Class Story
Dylan Webb
One of the Skateboarders
Bradley Webster
Featured Support Actor in Party Story
Josh Wellins
One of the Boys in Dog Story
Chris West
One of the Boys in Dog Story
Daniel West
One of the Boys in Dog Story
MAIN PRODUCTION CREW
Mary Callaghan
Co-Director
Anna Cater
Producer
Phillip Crawford
Director, Editor, Director of Photography
Lea Hawkins
Stills Photographer, Illustrator
Dirk Littooy
Dog Trainer and Dog Wrangler
Kim McConville
Producer
Gemma Parsons
Co-Director
Jessica Rees
Mentoree Director and Vocalist
ADDITIONAL PRODUCTION CREW
Tony Barry
Project and Edit Mentor
Tamara Callaghan
Make Up Artist, Jo’s Black Eye in Skateboarders’ Story
Harry Dacanalis
Stunt Consultant for Dog Story and In Kind Supporter of Film
Roger Graham
Safety Advice and Report for Fire Scenes
Mark Le Cornu
Stunt Coordinator for Dog Story
Tessa Parsons
Production and Unit Manager
Bill Purnell
Camera, Sound and Lighting Crew
Roza Rojano
Make Up Artist
Lou Stefanel - Pyromania
Fire and Smoke Special Effects
Kriv Stenders
Consultant Director
POST PRODUCTION
Andy Bambach
In Your Face Productions. Additional ADR
Adam Connelly
Foley Recordist
Ian Cope
VFX Production
Jasmin Cornford
Post Production Liaison, Soundfirm
Ben Dickson
VFX Compositor
Bruce Emery
Technical Manager: Post Production at Soundfirm
FanDependent
Digital Executive Producers: Thomas Mai and Hattie Archibald
Steve Grabner
Post Production Assistant, Camera Operator: Cinema Scene
Dominic Hundleby
Grading 16mm and Super 8 Transfers
Wendy Kimpton
Project Web and Poster Design
Tristan La Fontaine
Colourist
Wayne Lewis
VFX Head of Production
Warren Lynch
16mm and Super 8 Film Transfers
Lindsay Martin
Vocalist Recordings
Alex Meddick
VFX Editor
Gabriella Muir
Consultant Editor
Neg Lab
Film Processing
Nicholas Pullen
Legal Consultant
Rising Sun Pictures
Smoke Special Effects in Post Production
Diego Ruiz
Dialogue Editor
Soundfirm Australia
Post Production House
Spectra Film and Video
Film Processing
Lisa Stonham
Titles and Credits Design
Mario Vaccaro
Foley Artist
Video 8
Film Transfers
Andy Wright
Re-recording Mixer
Jennie Zeiher
VFX Production
MUSIC
Absorb “The Bushfire Grudge” Music Track Written and Produced by Absorb
The Argonauts “On a Journey" Produced by Sean Sheap. Vocals by Cable Tasman, Sean Sheap,
F4vessance, Absorb, T Boogie Ray, Hoodsta, Sone.
"Trans Tasman Traveller's" Produced by Sean Sheap. Vocals by Cable Tasman, T. Boogie Ray. Cuts
by Slap 618
"Photo Moment" Created by the vocals of Absorb, Sean Sheap, Slap618
Audio "Forever" Produced by Sean Sheap. Vocals by Sean Sheap, Absorb. Cuts by Dj Fury
Yanni Scott Davis Music Track “The Strangers”
Koorified
“Big Money” Music Track Written and Performed by Koorified
Kevin MacLeod Music Tracks “Sunshine” and “Niles Blues” (incompetech.com)
Mighty Ash
Instrumental Tracks “Twelve” and “Twenty”
David O’Brien
“Back with the Faces” Music Track Published by Audio Network
Philip Okerstrom
Composer and Sound Designer
Dr Keith J Salmon
“Ding Dong Merrily on High” performed by RFCM Symphony Orchestra
Benyam Seifu
“Floating” Written and Performed by Benyam Seifu
3KD
“Straight off the Cuff” and “Uptown” Music and Vocals by 3KD
FEATURED EXTRAS
Matthew Abotomey
Guy who starts a fight in the Party House Story
Robina Beard
Nan
Dallas Bigelow
Dal in Party House Story
Diana Brown
Teacher who bores the class in Poetry Class Story
Shane Clarke
Younger Brother in Story about the Mother who is Sick
Toby Davis
Shakespeare Teacher
Amylea Griffin
Amyleigh in Roman’s Story
Kim Griffin
Jo in Skateboarders’ Story
Lajos Hamers
Older Guy Sitting at Table in Party Story
Kerren Heilpern
Teacher whose Father Died in Poetry Class Story
Rob Hernandez
The Fence in Xmas Thief Story
Jacqueline Hunter
Mum in Xmas Thief Story
Melodie Igano
Little Sister of Girl who Cares for Sick Mother
Morgan Lewis (Morganics)
Drama Teacher in Poetry Class Story
Steven Ljubovic
Guy who Spikes Drink in Party House Story
Xzavier Ljubovic
Unborn Child, Baby and Toddler
Alice McClintock
Addict Girl in Party House Story
Broadie McGugan
Student in Drama Class Scenes
Troy Newberry
Uncle Troy in Dog Story
Bruce Polonis
Phill in Skateboarders’ Story
Raffles (Vontasman Bouncer)
Sam the Dog in Major Scenes of Dog Story
Louisa Raft
Mother who is Sick
Troy Reid
Teacher in First Poetry Class Scene
Sam (Vontasman Sam)
Sam the Dog in Some Early Scenes
Jasmyn Schols
Roman’s Sister in later scenes of Roman’s Story
Juliet Scrine
Chris’s Mum in Skateboarders’ Story
Dennis Sykes
Featured Support Actor in Party House Story
Adrianne Thomson
Mother in Roman’s Story
Antonio Tobia
Chaise's Dad in Dog Story
Beck Toole
Student in Drama Class Scenes
EXTRAS
Kayla Acton Extra in Dog Story
Zach Barbaric
Extra in Dog Story
Ross Barlow
Rural Fire Service Extra
Leroy Butler
Extra in Poetry Class Story
Claire Cairns
Girl who performs Juliet in Talent Quest
Neil Carpenter
Removalist in Roman's Story
Jordan Dent
Extra in Dog Story
Rebekah Dove
Amyleigh’s Brother’s Girlfriend in Roman’s Story
Kevin Evans
Removalist Assistant in Roman’s Story
Cristie Fagnano
Talent Quest Magic Act
Carolyn Gersbach
Rural Fire Service Extra
Jude Gill
Woman Who Spots Thieves from Door
David Green
Librarian in Dog Story
Melissa Hansen
Talent Quest Magic Act and Dance
Janaya Harvey
Extra in Dog Story
Blake Hearnden
Extra in the Dog Story
Emily Heilpern
Extra in Party House Story
Renee Heys
Motel Receptionist in Roman’s Story
Keeley Hurry
Daughter whose Presents Got Stolen and Returned
Susanne Hurry
Mother whose Presents Got Stolen and Returned
Kaelan Hurry
Son whose Presents Got Stolen and Returned
Jesse Hynds
Extra in Dog Story
Montana Igano
Extra in Poetry Class Story
William Irving
Drug Dealer in Xmas Thief Story
Leeton Jackson
Extra in Dog Story
Shawn Joseph
Security Guard in Dog Storyline
Chloe Lawrence
Extra in Poetry Class Story
Megan Lopez
Talent Quest Performer
Julie Lyons
Police Officer Extra
Grady Martin
Extra in Skateboarders’ Story
Ronald Matthews
Extra Poetry Class Story
Gary McDougall
Rural Fire Service Extra in Dog Story
Charlotte McEwan
Roman’s Sister in Early Scenes
Teagan O'Dea
Staff in Fish and Chip Shop
Alex Perritt
Extra in Party House Story
Rachel Pike
Talent Quest Performer
Ben Poole
Extra in Dog Story
Steven Poole
Extra in Dog Story
Rachel Rienits
Talent Quest Performer
Katy Roth and Mariah
Mother and Baby: Extras in Dog Story
Khoen Scott
Extra in Dog Story
Leigh Simpson
Chris's Stand-In in the Skateboarders’ Story
Garry Suters
Rural Fire Service Consultant, Fire Location and Shoot Supervisor
Len Wynen
Tiny
Chris’s Dog in Skateboarders’ Story
Yetuu Waremaki
Extra in Skateboarders’ Story
Brad Watts
Talent Quest Performer
Luke West
Extra in Dog Story
Nick West
Extra in Dog Story
David Willis
Police Officer in Skateboarders’ Story
Father whose Presents Got Stolen and Returned in Xmas Thief Story
ADDITIONAL YOUTH CREW
Rob Bishop, Jessie Calvert, Cree Cullimore, Jai Dungay, Josh Edwards, Ashley Fenwick, Karl
Haenschke, Angel Harris, Owen Skinner, Josh Williams
CINEMA SCENE PRODUCTION CREW
Erica Arzey, Steven Farrugia, Richard Jones, Harrison Keyte, Sharon Lewis, Richard Palmer,
Jonathan Park, Sandra Pires, Bronwyn Purvis, Javier Valledor, Matthew Weiffel
BEYOND EMPATHY
Anna Buduls
Beyond Empathy (BE) Board Chairperson, Associate Producer
Antony Green
BE Board Member and Crowd Funding Major Supporter
Paul Heath
Beyond Empathy Board Member and Crowd Funding Producer
Pia McBean
Admin Support
Michelle Paull
Accountant
Julien Playoust
Beyond Empathy Board Member
Trish Shortis
Finance Officer
Vivienne Skinner
BE Board Member and Crowd Funding Major Supporter
Nicola Spedon
Admin Support, Edit Advice
David Thompson
Beyond Empathy Board Member
Adam Williams
Beyond Empathy Admin Support
PROJECT FUNDING
Aboriginal Benefits Foundation
Film Completion and Education Tour
The Australia Council for the Arts THE Major Funder of the Project
Caledonia Foundation
Major Funder of Project: Youth and Arts Development
Coca-Cola Australia Foundation
Major Funder of Project: Youth Leadership
Dusseldorp Forum
Associate Producers: Education Strategy and Touring of Film
Nelson Meers Foundation
Beyond Empathy National Core Funder
Simon and Catriona Mordant
Project Seed Funding
NSW Department of Education and Communities
Major Funder: Youth Training Focus
CROWD FUNDING PRODUCERS
Kevin and Evelyn Crawford, Carlo Giacco, Andrew King, Rebel Penfold-Russell, Dick Smith, Jay
Windsor and Benita Andrews
CROWD FUNDERS MAJOR SUPPORTERS
Samantha Ackling, Kirsty Baird, Rachel Brown, Philip Craig, Sian Davies, FIRST Advisers, Jolanta
Gallagher, Regina Hill, Dean Mason, Barbara McConville, Catriona Noble, Jo O’Brien, Jodie Parker,
Steve Parsons, Tessa Parsons, Wayne Penrose, Cliff and Marian Powell, Peter and Vivienne Skinner,
Joanne Taylor, Kim Vanden Hengel
Anonymous The anonymous Crowd Funding Supporters. You know who you are!
CROWD FUNDING SUPPORTERS
Christine Ambs, Victoria Anderson, Deb Annabel, Martha Ansara, Hattie Archibald, Dennis Argall,
BillBachman, Luke Bagnall, Liz Baillie, Emma Bellamy, Jodie Belyea, Stacey Berry, Steve
Biddulph,Marja Blomqvist, Deborah Bogenhuber, Anne Bowden, Annie Bowen, Julia Buckingham,
Michelle Burns, Pippa Burns, Nadine Campbell, Linda Campbell, Geoff Carter, Harrison Cartwright,
Rosemary Cheetham, Kate Clarkson, Ell and Jason Cooper, Glenda Corby, Jan Cornall, Alan Crabbe,
Sabina Crawley, Ruth Cross, Karen Crowe, Kevin Crowe, Simon Cunich, Marg Darcy, Christie
Dassonval, Jo Davidson, Margot Doran, Tanja Dreher, Heath Ducker, Ali Dullard, Natasha Dwyer,
Christina Dymond, RichardEaston, Sandy Edgar,Uwana Evers, Louise Fischer, Pat Fiske, Kate Ford,
Anna Forrest, Rod Freedman, Jo Gallagher, Jess Garrett, Julie-Anne Geddes, Adrian and Patricia
Gilchrist, Tara Goedjen, Mark Grieve, David Green, Michael Griffiths, Mark Griffiths, Mic Gruchy,
Hannah Hannan, Leigh Sarah Harris, Lindi Harrison, Trisha Heaton, Carol Heaton, Louiza Hebhardt,
Maree Hemming, Lisa Hewitt, Ian Hibble, Tina Howard, Louise Hudson, Judith Hurley, Nicholas
James, Camilla Jessup, Prue Keenan, Alex Kelly, Allan King, Sherry Landow, Simon Lee, Sue
Leppan, Vanessa Lewis, Kate Liston, Kieran Lloyd, Julie Mackey, Chris Mackie, Beth Marchbank, Vivi
Martin, Andrew McConville, Nick McLaren, Megan McMurchy, Margret Meagher, Patrick Meaney, Sam
Meers, Jennifer Miller, Trinity Morris, Susan Myers, Anne Myers, Patrick Nolan, Jen O'Sullivan, Jessie
Ogle, Kay Pavlou, Steve Payne, Deb Perry, Michael Pisani, Emily Preston, Jennine Primmer,Frank
Prothero, Kym Pryde, Peter Quarmby, Mark Ryland, Tony Sanderson, Peter Scrine, Georgia Sellars,
Susan Sharp, Roslyn Simms, Jeff Singleton, Tom Skinner, Leigh Small, Lisa Stevens, Pam Swain,
TeganTattersall, Jo Telenta, The Goldfish Bowl and Bakery, The Hartgerink Family, The Red Kitchen,
Fiona Tinelt, Clare Tuckerman, Nicki Vance, Clementina Velasco, Niki Vincent, Anthony Wallace, Edie
Watt, Moksha Watts, Megan West, Mereki Danger White, Vyvian Wilson, Helena Wood, Kenny Yuen
ACKNOWLEDGEMENTS
Abbot’s Removals Removalist Company who helped in Roman’s Story
Access Community Group Local Partner Organisation
Adolescent Mental Health Day Unit Local Partner Organisation
Barnardos South Coast
Key Community Partner who also helped us with locations
Darren Bell
Local Youthworker and First Aid: Fire Barrel Scene
Bellambi Pub
Location in Roman’s Story
Berkeley Neighbourhood Centre
Local Partner and Location in Dog Story
Berkeley Take Away
Location in Dog Story and makers of the best chips!
Tracey Blundell
Local Supporter and Youth Worker
Jenny Briscoe
Project Support and House Location for Xmas Thief Story
Tracey Carlson
Let us Invade Her House for the Couple with Baby Sequence
Coomaditchi United Aboriginal Corporation
Thanks Aunties Lorraine and Narelle
Scott Crutchley
Provided House Location for Dog Story
Larissa Daniel
Supported us with de-briefs, ideas and connections
Ian Darling
Beyond Empathy National Supporter and Funder
Audra De La Torre
Writer of Poem: “A Family”
Elsinor Motel Dapto
Location in Roman’s Story
Bruce and Cynthia Fenwick
Let us Film at their House Plus Bruce made Scones!
Gala Cinemas
Cinema in Film and Partner Cinema for Project
Maryanne and Greg Gillett
Location Providers for Skateboarders’ Story
Maxyne Graham
Local Community Worker and Project Supporter
Groupwork Solutions
Local Project Partner
Amy Hahn
Location Provider for Story about the Mother who is Sick
Sand Hall
Production Management
Irene Harris
Provided a location in Skateboarders’ Story
Janys Hayes
Supporting Actors’ Casting Consultant
Headspace Illawarra
Local Partner Organisation
Annette and Mark Herring
Location Providers for Roman’s Story
David Hitchens
Rural Fire Service Consultant
Rhonda Hunt
Crowd Funding Producer and Security Guard Liaison
Ian Hyslop
Projectionist and In-kind Supporter of Project
Illawarra Local Aboriginal Lands Council
Provided Location in Dog Story
lllawarra Production Services
Lighting in Cinema Scene
lllawarra Senior Collage
Location in Poetry Class Story
IIIawarra Vocational Services
Set Rescue. Thanks Tash and Crew!
Neil Kusi-Appauh
Art Direction Poetry Class Story
Lake Heights Cellars
Location in Party House Story
Megan McKell
Support, Advice and Project Workers’ Supervision
Kirralee Miller
Location Provider in Roman's Story
Martin Moore
Helped Organise Talent Quest Audience and Acts
Jennifer Newton
Local Community Worker, Supporter and Partner
NSW Rural Fire Service
Fire Scene Consultants and Shoot Partners
Port Kembla Community Project
Local Partner Organisation
Roo Theatre Company
Linked us to Talent Quest Performers
Roger Savage
A Big Thank You for Your Support at Soundfirm
Sarah Schols
Support Characters Casting Consultant, Location Consultant
Kerry Searle
Local Health Worker Who Linked Young People to the Project
Shellharbour City Library
Location in Dog Story
David Simpson
Location Provider for Skateboarders’ Story
Sharon Skinner and Raymond Dungay
Location Providers for Xmas Thief Story
Sandra Stanojevic
Local Health Worker who Linked Young People to the Project
Melissa Stevenson
Location Provider for Nan Story
TAFE NSW - Illawarra Institute
Camera Equipment Provider for Cinema Scene
The Red Kitchen: Caroline Pontello
Catering and the Best Coffee.
Wilhelmina Vandenhoek
Location Provider in Skateboarders’ Story
Warrawong High School
Location for Talent Quest Scene, Costume Providers
Warrawong Residence Forum
Local Partner, Workshop Venue
Bill Webster
Beyond Empathy Supporter
Mark Wilmott
Blacked out Windows up very long ladders with Warrawong Fire Crew
Wollongong City Council Project
Support through Various Community and Arts Workers
Wollongong Radio Cabs
Taxi in Skateboarders’ Story
Wollongong Workshop Theatre
Partner Organisation for Many of our Key Support Actors
TALENT QUEST AUDIENCE EXTRAS
Mohamad Abbas, Urim Ademoski, Dilara Alexli, Rebecca Aliverti, Hesham Alnowahi, Jemma Arif,
Sarah Jane Bailey, Zac Bardenski, Tracey Bright, Georgia-Rose Brunt, Zac Buchanan, Olivia
Carvalho, Kayla Clark, Courtney De Goma, Sean Garbutt, Alexandra Goreska, Olivia Grech, Samira
Hadaya, Tanaya Hesse, Mitchell Horan, Seteone Lakalaka, Layal Matar, Dakota Nolan, Borce
Petreski, Miracle Phillip, Dylan Pitt, Kiralee Pitt, Curtis Pocock, Jessica Ratcliff, Dylan Ray, Kristina
Rizouska, Steven Rizouski, Samantha Rodrigues, Aynur Selvi, Shania Staffiero, Jessica Talevska,
Travis Thompson, Gabby Turek, Kris Tydzarov, Tyrease Von Stoll, Albert Watkins, Dawn Watkins,
Payden Kryger, Jayden Stedman, Sara Veleva, Kruger Payden, Jayden Stedman
PUB EXTRAS
Max Weeks, Mike Weeks, Stephen Lym, B.Murada, Tracey Murada, David Burling, Karen Booth
THANKS
Michelle Allen, Brett Amatto, Polly Armstrong, Jill Billcock, Geoff Blundell, Gordon Bradbury, Gerald
Brown, Layne Brown, Sharon Callaghan, Emma and Josh Calvert, Jasmin Cater, Richard Cotterill,
Jerusha Crawford, Ruth Cross, Karen Crowe, Janelle Cundy, Dions Bus Service, Edith Draper, Jack
Draper, Machelle Duncan, Teya Dusseldorp, Eaton Gorge Theatre Company, Janette Ellis, Camille
Favalaro, Delia Fetter, David Field, Lee Findlay, Pat Fiske, Graeme Fletcher, Brittney Gibb, Nicky
Gibb, Rhys Graham, John Hamilton, Belinda Hawker, Diana Jarrett-Harris, Susan Kennedy, Lake
Illawarra Police, Maree Larkin, Michael Letho, Sue Leppan, Minna Jean Lethbridge, Wlad Lopatinski,
Samantha Lukey, Brian McGinn, Megan McMurchy,Damian Mason, Carmen Milan, Amee Nicol, Mark
O’Donnell, Beck Parsons, Jeremy Piccin, Judy Pickard, Ange Reh, Armando Reviglio, Scrags On The
Beach, Sharralyn Robinson, Scouts Australia NSW, Lara Seracin, Steen, Warrawong Fire Station,
Why Documentaries, Tony Wiseheart, Donna Waters, Jaran Waters, Samara Waters, Sheryl Wiffen,
Jan Williams, Wollongong Youth Services, Liam Woods, Renee Woods, Andre Zeballos
CINEMA AUDIENCE EXTRAS
Amanda Black, Denise Black, Geoff Blundell, Sylvia Blundell, Gordon Bradbery, Gerald Brown, Pearl
Brown, Elisha Burch, Chris Byrne, Cooper Byrne, Milla Byrne, Bodean Caddick, Richard Callaghan,
Kiesha Carlson, Rhiana Carlson, Vanessa Cassar, Toni Chant, Maigon Clark, Shianne Clark, Vimala
Colless, Dean Cosgrove, Lisa Cosgrove, CoralLeigh Cowan, Julie Cunningham, Karissa Darby, Jo
Davidson, Wayne Davis, Josh De Filippo, Jordan Diaz, Lorraine Davies, Denise Dingle, Dylan Dingle,
Justin Dingle, Rodney Dingle, Tegan Dingle, Solkan Donaczy, Tegan Donovan, Machelle Duncan, Jai
Dungay, Riley Durston, Michael Espinoza, Corey Everitt, EmilyFagano, Grace Fagnano, Alison
Fletcher, David Fowler, LatoyaLee Galvin, Brittney Garbutt, Kayla Gill, Tahlia Gill, AprilLee Gillin,
Jayden Gribble, Misty Gurtala, James HaenschkeLong, Nicole Hall, Daniell Hannon, Tony Hansen,
Ruth Harvey, Damon Hasiuk, Reece Hasiuk, Belinda Hawker, Jim Hawker, Marie Hawker, Helen
Heffernan, Lucy Heffernan, Michelle Heffernan, Tina Howard, Daniel Hudson, David Hudson, Louise
Hudson, Steven Hudson, Ellara Igano, Lilly Igano, Roselyn Igano, Melvin Igano, Kylie Inskip, Gloria
Jackson, Tim Jackson, John Jackson, Brett Johnson, Yasmyn Keating, Cory King, Lindy Lawler, Ben
Lister, Sandra Littooy, Dragan Ljubovic Snr, Susan Ljubovic, Jody Lockett, Matthew Lockett, Scott
Lockett, Zi Lockett, Sarah McKay, Shantay McLeod, Madison Mason, Kiara Mason, Melanie Meuron,
Jorja Mills, Caitlin Moore, Doris Moore, Ross Moore, Tania Morisman, Herbert Nash, Eva Neitzert,
Jacob Nicholls, Janina Nicholson, Virginia Olson, Patricia Parker, Marian Palmer, Jenene Pazsit,
Rhonda Pike, Leetona Pitt, Mathew Priestley, Valerie Quinlan, Annalee Quinn, Wayne Quinn, Kahli
Ramsey, Robert Reed, Maria Rees, Mark Rees, Stephen Rees, Maddison Rey, Nina Risi, Aldo Risi,
Arist Sandra Rosiak, Belinda Rust, Anna o Risi, Dante Risi, Orlando Risi, Nikita Robertson, Kim
Robinson, Ben Rosiak, Scott, Mary Shelton, Dennis Sheppard, Shane Smith, Ian Sneddon, Lee
Sneddon, AlyssaMay Spence, Bill Spence, Sharon Spencer, Miriam Spry, Gail Steele, Gillian Steele
Davidson, Reece Steele Davidson, David Steele Davidson, Tarina Stenner, Erica Stevenson, Ann
Strickland, Pam Swain, BeauVella, Benjamin Verdon, Helen Wallace, Janelle Webb, John Webb,
Bronte Wilson, Glen Wilson, Jemiah Wilson, Jodie Wilson, Mel Wishart, Cely Woudsma, Phil Youna,
Lyn Young
TRAILERS and CLIPS
Please go to h3p://www.youtube.com/watch?v=IisLUPPKwM4 for a trailer for the film Rites of Passage which can be embedded.
Please go to h3p://www.youtube.com/watch?v=ggiTtOOF2DE for a video where the young people who made Rites of Passage talk about their experiences of making the film.