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Directed by | |||
| Rob Sitch | |||
Writing credits | ||
| Santo Cilauro | (conceived and written by) & | |
| Tom Gleisner | (conceived and written by) & | |
| Jane Kennedy | (conceived and written by) and | |
| Rob Sitch | (conceived and written by) | |
Produced by | |||
| Debra Choate | .... | line producer | |
| Santo Cilauro | .... | producer | |
| Tom Gleisner | .... | producer | |
| Michael Hirsh | .... | producer | |
| Jane Kennedy | .... | producer | |
| Rob Sitch | .... | producer | |
Original Music by | |||
| Edmund Choi | |||
Cinematography by | |||
| Graeme Wood | (director of photography) | ||
Film Editing by | |||
| Jill Bilcock | |||
Casting by | |||
| Jane Kennedy | |||
Production Design by | |||
| Carrie Kennedy | |||
Art Direction by | |||
| Ben Morieson | |||
Costume Design by | |||
| Kitty Stuckey | |||
Makeup Department | |||
| Simone Albert | .... | makeup artist | |
| Jill Fischer | .... | prostethics makeup artist: Creative Audience Productions Inc. | |
| Ian Loughnan | .... | makeup artist | |
| Caroline Styles | .... | hair designer | |
| Caroline Styles | .... | makeup designer | |
| Noriko Watanabe | .... | makeup artist: old man sequence | |
| Noreen Wilkie | .... | hair stylist: Sam Neill | |
| Noreen Wilkie | .... | makeup artist: Sam Neill | |
| Wesley Wofford | .... | key prostethics makeup artist | |
| Mark Nieman | .... | silicone prosthetic technician (uncredited) | |
Production Management | |||
| Andrew Osboldstone | .... | unit manager | |
| Sylvia Walker-Wilson | .... | post-production supervisor | |
Art Department | |||
| Liam Adam | .... | art department assistant | |
| Jane Burns | .... | props buyer | |
| Robert Elliott | .... | storyboard artist | |
| Sandy Grant | .... | stand-by props | |
| Troy Hardy | .... | art department runner | |
| Carrie Kennedy | .... | model maker | |
| Ben Morieson | .... | model maker | |
| Andre Potappel | .... | technical supervisor | |
| Stephen Travers | .... | additional art department (as Steve Travers) | |
| Darren Unsgaard | .... | set dresser | |
| Warren Vigor | .... | additional art department | |
| Lisa Wang | .... | art department coordinator | |
| Richard Wenzel | .... | props buyer | |
Sound Department | |||
| Philippe Decrausaz | .... | sound recordist | |
| Tony Dickinson | .... | boom operator | |
| Bruce Emery | .... | stereo sound consultant: Dolby | |
| Helen Field | .... | coordinator: Soundfirm Australia | |
| Richard Girvan | .... | sound engineer: ABC | |
| Francis Ward Lindsay | .... | foley artist | |
| Gerry Long | .... | foley artist | |
| John McKerrow | .... | additional boom operator | |
| Damien Montalto | .... | sound recording engineer | |
| Andrew Neil | .... | assistant sound mixer | |
| Andrew Neil | .... | foley recordist | |
| Skye Ritchie | .... | special sound effects editor | |
| Livia Ruzic | .... | dialogue editor | |
| Roger Savage | .... | sound mixer | |
| Danny Sullivan | .... | sound recording engineer | |
| Jenny Sutcliffe | .... | additional boom operator | |
| Gareth Vanderhope | .... | special sound effects editor | |
Special Effects by | |||
| Aaron Beaucaire | .... | special effects | |
Visual Effects by | |||
| Paul Cross | .... | optical effects | |
| Murray Curtis | .... | visual effects: Complete Post | |
| Andrea Parkes | .... | visual effects: Complete Post | |
| Tim Parrington | .... | visual effects: Complete Post | |
| Peter Webb | .... | visual effects: Complete Post | |
Camera and Electrical Department | |||
| Tov Belling | .... | focus puller: second unit | |
| Dan Carr | .... | fourth electrician | |
| Joanne Donahoe | .... | camera operator: epk | |
| Craig Dusting | .... | key grip | |
| Warwick Field | .... | aerial camera operator: second unit | |
| Anthony Gerrish | .... | grip | |
| Richard Hosking | .... | camera operator: second unit | |
| Marin Johnson | .... | clapper loader | |
| Trish Keating | .... | focus puller | |
| Adam Litchfield | .... | video split operator | |
| Jude Lovatt | .... | focus puller: second unit | |
| Lex Martin | .... | third electrician | |
| Peter Moloney | .... | electrician | |
| Josh Moore | .... | additional grip | |
| Timothy Morrison | .... | best boy electric (as Tim Morrison) | |
| Harry Panagiotidis | .... | Steadicam operator (as Harry Panogiotidis) | |
| Peter Stockley | .... | additional grip | |
| Lisa Tomasetti | .... | still photographer | |
| Colin Williams | .... | gaffer | |
Casting Department | |||
| Rachel Bailey | .... | casting assistant: Australia | |
| Richard Hicks | .... | casting consultant: USA | |
| Yeskel Hicks | .... | casting consultant: USA | |
| Leesa Scheller | .... | casting assistant: Australia | |
Costume and Wardrobe Department | |||
| Michael Davies | .... | stand-by wardrobe | |
| Maida Jereb | .... | costume maker | |
| Gabrielle Travers | .... | costume supervisor | |
Editorial Department | |||
| Arthur Cambridge | .... | color grader | |
| Robert Hall | .... | second assistant editor | |
| Noel Hansen | .... | telecine dailies | |
| Julia MacLeod | .... | negative matcher (as Julia Macleod) | |
| Rochelle Oshlack | .... | first assistant editor | |
| Bill Daly | .... | post-production executive (uncredited) | |
| Justin Heitman | .... | telecine colorist (uncredited) | |
Music Department | |||
| Noel Ancell | .... | artistic director: choir | |
| Doug Brady | .... | music editor | |
| Edmund Choi | .... | conductor: Melbourne Symphony Orchestra | |
| Lynette Clarkson | .... | liaison: choir | |
| Graeme Evans | .... | musician: horn solo | |
| Barb Glaser | .... | orchestra manager (as Barbara Glaser) | |
| Jane Kennedy | .... | music producer | |
| Michael Kisin | .... | concert master | |
| Sonny Kompanek | .... | orchestrator | |
| Ron Layton | .... | orchestra contractor | |
| Lawrence Manchester | .... | score mixer | |
| Lawrence Manchester | .... | score recordist | |
| Geoffrey Payne | .... | musician: trumpet solo | |
| Markus Stenz | .... | artistic director: music | |
| Markus Stenz | .... | chief conductor | |
| Peter Sullivan | .... | composer: additional music | |
| Christine Woodruff | .... | music licensing | |
Transportation Department | |||
| Maurice Randall | .... | vehicle supervisor | |
Other crew | |||
| Brett Anderson | .... | safety supervisor | |
| Ian Anderson | .... | liaison: Cinevex | |
| Jim Atkins | .... | engineer: ABC | |
| Cassandra Barbour | .... | rights and clearances | |
| Tony Bartuccio | .... | choreographer: dance hall | |
| Bernadette Breitkreuz | .... | assistant accountant | |
| Tom Dillon | .... | production runner | |
| Greg Duncombe | .... | helicopter pilot: second unit | |
| Jeanette Fisher | .... | caterer: Sweet Seduction | |
| Sarah Gilligan | .... | unit assistant | |
| Jeremy Gray | .... | insurance: AON insurance | |
| Wendy Gregory | .... | production assistant | |
| Gordon Gribbin | .... | copyist | |
| Nikki Hamilton | .... | second production assistant | |
| Foster Hart | .... | legal | |
| Pauline Hirsh | .... | second unit coordinator | |
| Pauline Hirsh | .... | unit publicist | |
| Mika Holliday | .... | researcher: stock footage | |
| Jane Manning | .... | researcher: stock footage | |
| Susannah Mott | .... | production coordinator | |
| Vanitha Naidu | .... | production accountant | |
| Chris Peters | .... | safety supervisor | |
| Arch Roberts | .... | safety supervisor (as Archie Roberts) | |
| Ian Russell | .... | liaison: Atlab Australia | |
| Antonetta Russo | .... | accounting assistant | |
| Laura Sevier | .... | rights and clearances | |
| Greg Sitch | .... | legal | |
| Kate Thomson | .... | assistant production coordinator | |
| Sophie Vickers-Willis | .... | catering: office | |
| Sophie Vickers-Willis | .... | food stylist | |
| Brenda Vincent | .... | assistant: Sam Neill | |
| Polly Watkins | .... | assistant to executive producer | |
| Anne Went | .... | continuity (as Annie Went) | |
Thanks | |||
| Dr. Miriam Baltuck | .... | grateful acknowledgment | |
| Nicholas Bell | .... | thanks: assistance | |
| Rupert Burns | .... | grateful acknowledgment | |
| Kristen Coney | .... | grateful acknowledgment | |
| Brian Coote | .... | grateful acknowledgment | |
| Walter Cronkite | .... | thanks: assistance | |
| Davids Darzins | .... | grateful acknowledgment | |
| Mike Dinn | .... | grateful acknowledgment | |
| Prof. Ron Ekers | .... | grateful acknowledgment | |
| Derek Fellows | .... | grateful acknowledgment | |
| Lynn Gailey | .... | thanks: assistance (as Lynne Gailey) | |
| Frederic N. Gaines | .... | thanks: assistance | |
| Lorraine Hall | .... | thanks: assistance | |
| Mr. Will Houghton | .... | grateful acknowledgment (as Mr. Will Houghton QC) | |
| Yvonne Hutton | .... | grateful acknowledgment | |
| Ben Lam | .... | thanks: assistance | |
| Fox Mason | .... | grateful acknowledgment | |
| John Masterson | .... | thanks: assistance | |
| Billy Pinnell | .... | thanks | |
| Greg Ross | .... | grateful acknowledgment | |
| John Saxon | .... | thanks: assistance | |
| John Scott | .... | grateful acknowledgment | |
| Sharon Scott | .... | thanks: assistance | |
| Cliff Smith | .... | thanks: assistance | |
| Jeff Stilson | .... | thanks | |
| Helen Stuckey | .... | grateful acknowledgment | |
| Bruce MacA Thomas | .... | grateful acknowledgment | |
| Noriko Watanabe | .... | thanks: assistance | |
| David Williams | .... | grateful acknowledgment | |
| Alan Woodruff | .... | thanks: assistance | |
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| Rabbit-Proof Fence | Stonewall | Lucky Miles | My Brilliant Career | We of the Never Never |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb Australia section |
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The Dish delivers the way some of Michael Crichton's best novels do : Take a true story and build fiction around it so you can entertain the reader/viewer with technical accuracy and focus on the fictional characters, and the role they play. And boy, does The Dish entertain.
First credit must go to Rob Sitch's absolutely brilliant direction. On one hand it comes as no surprise that part of the old "D-Generation" line-up (Rob Sitch, Santo Cilauro, Tom Gleisner, Jane Kennedy) wrote a comedy full of sharp wit in the tradition of the infamous "Late Show" that ran on the ABC (Ch 2) in 1992-1993. Glen's (Tom Long) question "Who's the guy ?", when Al (Patrick Warburton) volunteers his admiration for Neil Armstrong and that he'll be walking on the moon is on a par with the Late Show "It's academic" 1993 sketch where the Santo/Rob/Tom Ivanhoe College team is faced with the challenge : "How much change do you receive from 7 Dollars if you purchase 7 items at 98 Cents each ?" - Rob's answer " What are the items ? " is unforgettable.
That same team performed at its best yet when The Dish's script was written. The Dish is also quite unique as a movie that can be watched over and over again without the need to skip many parts of the story. This could mainly be attributed to the story's characters, and how we are compelled to care about each and every one of them, no matter how insignificant they might seem.
The core of The Dish revolves around Neil Armstrong's first historic steps on the Moon at 12:56 PM, Monday 21 July 1969 AEST. When 600 Million people (1/5th of mankind at that time) tuned in and witnessed the TV pictures from the Eagle Lunar Module, 3 tracking stations were receiving these signals simultaneously. They were CSIRO's Parkes Radio Telescope, Honeysuckle Creek tracking Station near Canberra and NASA's Goldstone station in California. During the first 9 minutes of the broadcast, NASA alternated between these 3 stations. When they switched to the Parkes pictures, they were of such superior quality that NASA remained with them for the rest of the 2 1/2 hour Moonwalk. Of course the audience knows the good outcome to the events, so the writers can fully focus on the fictional part of the story and remind us how human nature can marvel by putting a man on the moon and safely return him home.
The Dish is so refreshing because it doesn't need to resort to adult themes, violence or excessive profanity to flag your attention to the townfolk of Parkes, their involvement in the mission and how they are "over the moon" about it.
The film accurately portrays the spirit of Aussie people in 1969. I found the camerawork simply stunning at times, capturing the beauty of Parkes : the dusty road to the Telescope, the farmer with dog and sheep, the (empty) Fuel station and Parkes' sleepy shops. The wonderful soundtrack attends to the "missing pieces" with songs like "Good morning Star shine" and "Come on". Dramatization is resourcefully completed by Edmund Choi's composition and direction of The Melbourne Symphony Orchestra (under Jane Kennedy's guidance).
The Dish succeeds in a non-pretentious and honest way to convey its great emotion and charm to the viewer. Working Dog excelled itself and surely must face great difficulty to surpass this masterpiece. "Frontline" and "The Castle" were very clever indeed, but The Dish is perceived by me as the best Australian Movie ever made, a priceless moment in Aussie Cine history.
Charles "Bud" Tingwell's cameo appearance as the Priest is the icing on the cake. The amount of research to realize the Dish must have been extensive, to adhere for example to the 2.2825 GHz Apollo 11 frequency, the solid minus 90 dBM signals etc. in the script.
It is worthwhile to note that NASA delayed the Parkes pictures by 6 seconds before its worldwide broadcast, in the event of an accident. Australian viewers saw mankind's giant leap 6.3 seconds earlier than the rest of the world !! (A 300 mS delay for the INTELSAT satellite link from Sydney,Australia to Houston,USA was incurred).
I still watch The Dish regularly and the movie, if nothing, conveys greater emotion than it first did. Highly recommended : great acting across the entire cast, almost flawless camerawork, fantastic soundtrack, fast paced yet non-engaging script, witty comedy. A treat for the whole family. 9.5 out of 10 !!!