(This transcript is taken from the Roadshow DVD release of “the poolroom edition").The narration cranks up when Darryl and Dennis realise they’ve won Dale (v/o): “The case was all over the news that night.Newsreader Ian Ross: “Good evening …first tonight, a landmark decision in the High Court today has confirmed the age-old saying, ‘A man’s home is his castle’ …when the huge Airlink consortium tried to compulsorily acquire a string of homes on Melbourne’s outskirts earlier this year, they didn’t expect a fight … well, they got Dale (v/o): "Dad had one of the biggest parties EVER that night back at home.

F Kafka the Trial. How about we finish the back room first?”Darryl: “Nup, I’m waiting on some cheap cladding. They were waiting for the right moment and then... "their argument was counter­ programming, in hindsight it didn’t work,” Hirsh says.During the waiting period he felt anxious and nervous but lacked the power to tell Miramax when to release the film. So, if you watch, you’ll see it’s not the same place. The tone is Ocker deadpan - in fact, the whole screenplay revels in deadpan understatement - suitable for introducing the home and its inhabitants (except for the oldest brother, who is in Pentridge). See None of this would have troubled Working Dog, except perhaps hurt pride. It's difficult to know if changes were made in the script to satisfy American sensibilities. But we’ve always been endlessly amused by people who have no reason for living other than they were born and they’re having a good time.” Only momentarily fazed by the novelty of making a film about a happy family, writers Sitch, Santo Cilauro, Jane Kennedy and Tom Gleisner drew shamelessly on their own backgrounds for inspiration. We have a lot of ideas for various films, and there’s no better way than going out and just doing it on your own terms.”The film presents a bright outcome in terms of compulsory acquistion of properties - in reality there are few domestic winners in Australian law up against large government infrastructure projects. Specializing Gh. There are four of us, so we pooled as much money as we could. Moreover some scenes have songs added where none existed before. .There’s no crutch in the film. (This transcript is taken from the early Roadshow DVD release of “the poolroom edition").Dale: “My name is Dale Kerrigan, and this is my story …”Sal: “Oh darl!

The film was financed, he and Santo Cilauro explain, by the pay-TV company Showtime, their own pockets and their cast members, who were willing to work on deferment. By setting the film next to the airport, it meant the suburbs and interactions with neighbours. But he was stretched on the days, and they were long days. It was a test of nerve whether we kept that speech about the Aborigines in or not. How’s this boys. I remember seeing plain shots of houses and people saying simple jokes, “Kings Bloody Cross” and that kind of thing. Basically, we were told by our fifth, silent and non-creative partner - who’s just as creative when it comes to money - “You can shoot for ten days, probably eleven, and that’s when the catering runs out!”Frontline has been one of the great successes of Australian television comedy. '“I think to portray suburban families as always miserable and dysfunctional is patronising. I’ll try that.’ And he did that for me again and again, acted as if I was giving him some huge font of wisdom.”Sitch says The Castle also represents a creative coming-of-age for the group, “As young comedians, you’re afraid of warmth.

I’m more concerned about what we do in the film and I think it’s not that at all. He was still chatting with people at the end of the day. They stick out like sore thumbs and are instantly recognisable to anyone who is even only slightly intimate with the film. But increasingly, the big international distributors are cautioning local filmmakers from seeking high market prices. (The Film Victoria report on domestic box office offered a very similar $10,326,428, equivalent to $14,456,999 in A$ 2009) The same Screen Australia data has the film doing £444,015 in the UK, putting it in position 64 in the 2018 listing for films that did more than £200,000. When we went to make this film, we had actually already made it. There are four of us, so we pooled as much money as we could.