Jim Loftus & Jon Terry

Further Tales from the Writers of The Underdog's Tale

Jon and I met nights over several month writing Underdog. When we finished Jon said "What now?". I replied, "We send it to Twentieth Century Fox and wait for the cheque."

What we did was send it to Ross Wilson who, aware we were wrting it, was on call to see if the script was in fine shape or beyond saving. And we waited, pacing, wondering if our baby was in fact loveable. Jon, contemplating the outcome of our collective consciousness, said, "I think it's got your eyes." Jon obviously needs treatment. I told Ross, "Rarely does an Australian comedy possess the dynamic cosmic magnificence this does; Eric is the conscience of a nation." To be honest Jon and I both loved Underdog - but then I love my shopping lists.

Jon was taking it all in, quietly, thinking. This was Jon's first script; he was stepping into the unknown. Whereas I knew what'd happen - Ross would reply, "Great.... but!" Always a but. "No," I thought, "this script is too original. Too full of vibrant power." At night the phone rang, it was Ross. "We're making this," rang in my ears. I rang Jon. "Jon, our days of obscurity are finally over and the true value of our artistic genius is recognised."

"Sorry," came the answer. "Who's Jon?"

We needed a producer. Not having a producer is like having a cup of tea in the pot but no cups. No producer. No picture. The budget - are you familiar with the phrase 'on the smell of an oily rag'? The food, of course, would be first class, and the company, Jon and I included, of course, exceptional. No-one wanted in. Those who read the script weren't returning our calls, some left the state. Holidays? But why then? So many! Ross said, "Bugger this, I'm getting one of the world's best producers, from New York."

Act II - in walks Meredith Garlick to meet us. Because, up to then, New York based, and working with Ron Howard, Woody Allen and Russell Crowe, she clearly needed a lucky break, a pinnacle to her career, and we could give it to her. Not! Meredith, a Brisbane girl originally, wanted something to do whilst back home catching up with Mum and Dad. She could live dangerously with what I called The Underdog Project. Sounds government, classified, mysterious. If anyone asked I would just look blank. What project? She was just like us, up for a massive challange, MISSION IMPOSSIBLE: two weeks to make a movie, a tiny crew, too many speaking roles, locations locations locations all over Brisbane and the Gold Coast, people jumping aboard for the love of it.

Some like Jess and Alicia, our production designers, doing it just for the sheer hell of it.

Like Callan, our cinematographer, because he was Ollie and Matt's mate.

Jackie Sullivan, our script supervisor, simply liked the script. And if I don't say so myself, OF COURSE!

Olie and Matt, young actors, with one feature credit, ambitious ready to rock the world like Muhammad Ali circa 1963.

And we needed yet more actors - preferably with free accommodation and who understood Brisbane and its murdering heat in February. Sophie Cleary was just about to leave Brisbane but this would be her first feature. Martin Challis knew all the local acting talent and got them for us.

Day One - camera rolled. And the result? We're not telling.

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