Let's face it.  Most people who go to see a movie run out of the theatre as soon as the credits roll.  But a movie is never exclusively the work of the director, writer, producer or actors.  The fact is, things go wrong.  And the credits show the names of all the people and places that helped out.

Here, then, is what you'll be missing if you run out of 6,000 Miles from Hollywood before the credits are finished.  We owe each of these people and companies a very sincere "Thank-you."  (This is a partial list, and we'll build it and make it more complete as time permits.)

 

The "nightclub scene" in 6,000 Miles involved half a dozen actors, a crew of fifteen, and hundreds of extras.   Craig and Blake Roy, the owners of Hunters Nightclub in the Sydney suburb of Sutherland, allowed this renegade film crew to overtake the club for one full night, and four additional days.  They organised the extras, supplied additional dance club lighting, and played the music that put the crowd in a dancing mood.

A difficult night of shooting went off without a hitch, making for one of the best and most visually-interesting scenes in the film.  Photos from the shoot will be posted to this site soon!

 

If you watched the Intro (and had your computer's speakers on), you heard a track by Crawlspace that they've given us the rights to use in the film.  They're a band from Western Australia, and made their national television debut on Hey Hey It's Saturday in August, 1999.  They rock.   Visit their website to hear more!

 

After watching and cringing at the first "café scene", we decided it needed to be completely re-written and re-shot. Fortunately, we stumbled upon Mylos Greek Restaurant at 101 Glebe Point Rd, in Glebe, and Nick, the proprietor. He was happy to help, and allowed us to bring in a big crew and dozens of extras, and take over the place. We can safely say the new "café scene" will be one of the strong points of the film, and we owe a huge thanks to Nick and the folks at Mylos.

 

The crazy Frenchman.  Daniel owns one of the houses used in the film, and graciously allowed the crew to invade the place.  He also provided a makeshift location scouting service, when he took the cast and crew out on a boat to a secluded beach, where they shot a scene from the film.  But when the sun went down before they could finish the shots, Daniel happily ferried everyone out on a second day, several weeks later, to finish up.  He and his boat make a cameo appearance in the film.

 

Doubling for a pizza restaurant in Los Angeles, Midnight Pizza Cafe is actually two doors down from Hunters Nightclub, in Sutherland.  Another complex scene involving half a dozen actors, a crew of ten, and a few dozen extras, this shoot got off to a bad start when the proprietor's key snapped in the lock as he was opening the restaurant for the crew.  Cast and extras began arriving, and there was no way in.  Fortunately, an extra was small enough to squeeze through an air vent and open the door from the inside.  You won't hear about that in the credits! 

 

Located in the heart of central Sydney city, Plato's generously allowed the crew to use the cafe to shoot the, umm, "cafe scene."  But since a parade was going through town on the day of the shoot, sound problems delayed the production.  Much to Plato's credit, they allowed the crew to return a few weeks later!  They even made delicious cappucino's for the crew.   Highly recommended.   So while the cafe won't actually be seen in the film, we thank them for their generous help!

 

Kelvin, Eugene and Craig (aka "the guys") at Movielab were not only helpful when it came to processing the neg, printing the workprint and providing us with spare film cans, they also generously allowed us to shoot a scene in front of the lab.  Eugene even served as dolly grip on the cold night's shoot.  Talk about appreciating a customer's business!

 

Chris Rowell is more than just the neg cutter.  She's been helpful every step of the way, including suggesting rubber numbers to keep picture and sound in synch on the old flatbed.  Sure, it added a few months to post-production, but if she hadn't suggested it, we might have added a few years instead.

 

Nicknamed "B'dee B'dee," Bill served as the film's special technician.  An electronics and technical whiz, Bill helped service and/or fix everything from cameras and camera batteries, to sound equipment, to video equipment, to the editing benches.  One of the most frequently-heard phrases on the film set goes something like this: "Oh no, it's broken!  Quick, call B'dee B'dee!"

 

Jurgen's a camera servicing and repair guru, with a style all his own.  He's able to fix old film gear so it doesn't end up getting scrapped (even long after it's projected use-by date).  He cleaned and fixed the lens, after it was discovered to have some focus problems, allowing the production to get back in the game and re-shoot the re-shoots!  And all for a bargain price.   Thanks Jurgen!

 

The "Special Thanks" page is likely to become the longest page on the website by the time the film is finished.   We'll be adding more names and stories as time and our organisational skills permit.

We just couldn't do it without the help of all these people.  So if you run into any of them, make sure to give them a hug and say "Thanks."  Spread the love around.  It worked in the 60s.