An unusual ABBA record #4

Dancing QueenAustralian fans watching the ABC TV programme Collectors this past week would have seen this unusual single sleeve on their televisions screens.

‘Dancing Queen’ was the first ABBA record to feature ABBA’s famous logo with the first B reversed, which was designed by art director Rune Söderqvist.

And it was the first ABBA single in Australia to come in a picture sleeve.

Apparently an Australian advertising firm had a similar logo, which led to legal proceedings regarding the ABBA logo. In preparation, RCA printed a version of the sleeve with ABBA written normally.

Close examination of the sleeve shows the obvious cut and paste of the artwork – the first B is slightly out of line with the other letters.

It seems that the legal dispute was quickly resolved, as on release day, 11 August 1976,  the single sleeve appeared with the ABBA logo.

But the logo-less version didn’t go to waste, as copies were distributed to record shops. I remember my local record shop had a whole rack of them. Stupidly I didn’t buy one then, but I’ve been lucky enough to find many copies at record fairs and second-hand shops since then.

A 1994 ABBA TV special declared that there were only three of these “misprinted” sleeves, which were worth thousands of dollars. This is patently not true – hundreds if not thousands were in circulation.  The Collectors programme told us it’s worth about AU$10, which is about right these days.


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4 Responses to “An unusual ABBA record #4”

  1. Samuel Inglles Says:

    Hi Ian

    Stories on people associated with Priscilla and Muriel.

    Kind Regards
    Samuel Inglles

    * The Sun-Herald (Sydney) – Sunday, 25 January 2009 (Page S13)

    Entertainment – Christine Sams – Star Studded News


    Running the gaunt-let?

    Is Hollywood’s ridiculous obsession with thinness getting to Toni Collette? The actor appears to have slimmed down noticeably since filming ‘The United States Of Tara’ overseas. Collette, who battled a serious eating disorder in her 20s, has generally been healthy since then. Let’s hope the pressure isn’t getting to her.

    * The Sun-Herald (Sydney) – Sunday, 15 February 2009 (Page S13)

    Entertainment – Star Studded News with Christine Sams

    Toni flirts with gay pride

    Toni Collette has strengthened her fervent fanbase among the gay and lesbian community in the US after pushing the boundaries with her role on ‘The United States Of Tara’.

    Collette, who plays a woman with multiple-personality disorder in the US show, has given a somewhat candid interview to gay internet website, telling reporters that at least one of her characters may be bisexual.

    “The provocative 16-year-old girl could probably go both ways,” she says. “We haven’t seen it on-screen thus far but she’s definitely the most overtly sexual.”

    Collette also tries to explain Tara’s “male personality” known as “Buck” – one of her many roles on the show – by saying it’s like playing any other normal guy. “It’s not that Tara’s pretending to be a guy or dressing up as a guy. When she’s Buck, Buck believes that he’s Buck, so there’s no question that he is a guy; therefore, people that know Tara treat him as a guy. He likes to go to tiitty bars and he flirts with girls.”

    Collette was asked how she would react if her own baby daughter, Sage Florence, turned out to be gay.

    “I wouldn’t care, as long as she’s happy,” she says. “Look, life is short, so why limit it? I accept people and their decisions no matter what they are.”

    Sage has just turned one and Collette described motherhood as “the most profound experience of my life”.

    Photo: Gay friendly…Toni Collette accepts people as they are.

    * The Weekend Australian Review (Sydney) – 7-8 March 2009 (Page 21)

    Trajectories realign

    Two local filmmakers have returned from the cinematic wilderness, writes Michael Bodey

    There was a real sense that the Australian film industry had finally blossomed in September 1994. Within a couple of weeks, directors Stephan Elliot and P.J. Hogan delivered two films that remain imprinted on the memory: ‘The Adventures of Priscilla, Queen of the Desert’ and ‘Muriel’s Wedding’.

    Fifteen years later, the careers of both directors realign with the simultaneous release this week of their latest international films, Elliot’s ‘Easy Virtue’ and Hogan’s ‘Confessions of a Shopaholic’.

    It would be nice to say they’ve each followed an upward trajectory since 1994, but unfortunately that’s not the case. The directors have taken different paths in careers that only emphasise the despairing nature of modern filmmaking and the fickle nature of life.

    It was easy to believe that Eliot and Hogan were part a resurgence of Australian film, following the new wave of the 1970s.

    Baz Luhrmann had arrived with ‘Strictly Ballroom’ in 1992, Jane Campion delivered ‘The Piano’ the following year, and ‘Priscilla’ and ‘Muriel’ in 1994 preceded Chris Noonan’s ‘Babe’ and Scott Hicks’s ‘Shine’ in 1996.

    All of these films were embraced by critics and audiences alike, and earned international acclaim. At the local box office, both ‘Priscilla’ and ‘Muriel’ earned more than $15 million, ‘Priscilla’s’ $16.4 million placing it in top 10 Australian releases. These are astounding figures for films that revelled in the new gauche comedy that followed ‘Strictly Ballroom’ and opened the door for ‘Kath & Kim’.

    We had always been able to laugh at ourselves on screen, from the Dad and Dave films through to Barry McKenzie, but ‘Priscilla’ and ‘Muriel’ were something else. Rough but real.

    The two films also confirmed the talents of a bounty of new actors, namely Toni Collette, Rachel Griffiths, Guy Pearce and Hugo Weaving.

    Even better for the local industry, both films were marketed as bona fide contenders by Roadshow Entertainment. It told audiences these films were as good as, if not better than anything Hollywood was producing.

    But you’re only as good as your next film, and that is where Elliott’s and Hogan’s paths diverged. Hogan was feted by Hollywood at the same time that his wife, Jocelyn Moorhouse, was making her own way after directing ‘Proof’. Steven Spielberg asked her to direct ‘How to Make an American Quilt’, so the couple moved to LA in 1994, before ‘Muriel’s Wedding’ was released there. Hogan was in pre-production on ‘The First Wives Club’, starring Goldie Hawn and Bette Midler, but jumped off because he wasn’t allowed creative control. He directed ‘My Best friend’s Wedding’, with Julia Roberts, then Hollywood’s most bankable star, having chosen him as her preferred director. The frothy romantic comedy, also starring Cameron Diaz, earned $US300 million worldwide.

    Hogan had delivered.

    Then Hogan’s 2002 film, ‘unconditional Love’ became an unconditional flop and his next, ‘Peter Pan’, filmed on the Gold Coast, was a $135 million, big-budget bust.

    He then concentrated on directing American television, and his wife developed the adaptation of Murray Bail’s ‘Eucalyptus’, starring Nicole Kidman and Russell Crowe and Weaving. That came to a screaming halt in 2005.

    Hogan might have heeded his own warning from 1997 when he told ‘The Weekend Australian Magazine’s’ Cameron Stewart of his early career in Australia: “I had a knack for writing for shows that were cancelled.”

    And so it was in the US. He directed a pilot of ‘Dark Shadows’ and was working with writer Marc Cherry to direct the first episode of a new series called ‘Desperate Housewives’. As Bill Carter writes in his book ‘Desperate Networks’, Hogan didn’t get on with the show’s creator and left the project in querulous circumstances after their first day together. The decision to walk away from what became America’s most popular drama probably cost him millions, as key creatives involved in developing a TV series are entitled to ongoing residual payments. As recently as last year, Hogan produced and directed the pilot a ‘Grey’s Anatomy’ knock-off, ‘Nurses’ (also known as ‘Philadelphia General’), although it wasn’t picked up.

    Elliot’s journey from ‘The Adventures of Priscilla’ wasn’t as storied, although he has hit his own hurdles.

    The first was the hubris that allowed him to make the coarse, boisterous comedy ‘Welcome to Woop Woop’ after ‘Priscilla’. He then tried a remake of the 1983 French thriller ‘Deadly Circuit, Eye of the Beholder’, which became something of a fiasco, amusingly captured in Lizzy Gardiner’s rudimentary documentary on the experience, ‘Killing Priscilla’. Elliot bankrupted himself after some of the film’s financing fell through during production and he picked up the slack. That wasn’t as traumatic as a skiing accident in 2004 that almost killed him. At one point during his hospitalisation, he was told he would never walk again. He recovered slowly.

    Elliot was asked to adapt ‘Priscilla’ for the stage; he didn’t care much for his movie and didn’t make any money from it. But he kept writing until he delivered what the producers wanted, and the musical has had a successful run here and will open this month on London’s West End. That is where Elliot stands to make multiples of the money he should have earned from the film 15 years ago.

    But it is his latest film, an adaptation of Noel Coward’s ‘Easy Virtue’, that has Elliott back in the main game. It’s a breezy and well-received film starring Kristin Scott-Thomas and the unlikely Jessica Biel.

    Hogan’s ‘Confessions of a Shopaholic’ is having a tougher time. A film about a conspicuous consumer has arrived amid a belt-tightening global recession. It’s too escapist, even for the movies.

    One could argue that the glacial pace of modern filmmaking hasn’t suited either Hogan or Elliot. They would have excelled in the studio systems of the 1940s and 1950s where they could work their talents on a film a year, most probably on perky romantic comedies and social satires in the vein of Preston Sturges and Douglas Sirk.

    As it is, both directors are in their 40s and their careers are still young. They need not worry about what might have been, rather what still could be.

    ‘Confessions of a Shopaholic’ and ‘Easy Virtue’ open on Thursday.

    Photos: (1) Unfortunate timing – PJ Hogan shoots a scene from ‘Confessions of a Shopaholic’, about a conspicuous consumer. (2) Success – Guy Pearce and Hugo Weaving in ‘Priscilla’.

    * The Sunday Telegraph Magazine (Sydney) – 3 May 2009 (Pages 27-29)

    Matt Day

    Passions in Practice – A Country Practice’s Matt Day is acting up again on home soil after feeding his wanderlust in the UK.

    Since delighting fans in ‘Muriel’s Wedding’, Matt Day has been honing his skills overseas. Now this ‘A Country Practice’ favourite is back in a film about the heart of home. By Hannah Rand

    Fifteen years after Matt Day wrestled with Toni Collette on an animal-print beanbag in the 1994 classic comedy ‘Muriel’s Wedding’, that scene remains a pivotal point in the 37-year-old actor’s life.

    “It’s remarkable how one afternoon’s work can have such a big impact on your career,” he says, relaxing back into his seat at the café of the Sydney Theatre Company, where he’s in rehearsals for its colourful play ‘The Wonderful World of Dissocia’.

    Prior to the infamous fumbling and ensuing explosion of polystyrene balls, Day was best known for his role as Julian ‘Luke’ Ross, the veterinarian’s assistant who longed to be a pilot on ‘A Country Practice’. He was only 17 when he left his home in Carlton, Melbourne, and flew to Sydney to work on the soap, which was filmed in the outer suburbs of the city, near Richmond. “I have some great memories of the time,” he says. “I was the youngest cast member and working with the older actors was an amazing experience. It was the heyday of Aussie soaps, the golden era.”

    Day is unruffled about the fact the majority of us recognise him for work he did more than two decades ago, despite having since starred in TV shows such as ‘Water Rats’ and films ‘Doing Time For Patsy Cline’, ‘Kiss Or Kill’ For which he was nominated for an AFI Best Actor Award) and ‘Dating the Enemy’ with Guy Pearce and Claudia Karvan.

    But even keen fans may have lost track of Day over the past eight years. In 2000, he and his news producer wife, Kirsty Thomson, moved to London. Having been a child actor who’d walked into a major TV drama on his first job. Day was initially naive about finding work in the more competitive European market. “I’d worked since I was a kid and I expected that to happen over there,” he says.

    Still, before long, he started landing roles on high-profile projects. The first was a two-part TV feature called ‘Shakleton’, which told the story of Sir Ernest Henry Shakleton’s 1914 voyage to the South Pole onboard the ‘Endurance’, with Kenneth Branagh at the helm. “I played Frank Hurley, the ship’s photographer, who also happened to be a 30-year-old Australian,” says Day. The same year, he scored a role alongside Richard E Grant and Richard Roxburgh in a TV drama based on the Sherlock Holmes thriller ‘The Hound’ of the ‘Baskervilles’.

    Filming for both TV series indulged Day’s adventurous spirit and took him to far-flung places, including the Isle of Man, Iceland and Greenland. But it was filming in Mexico, playing a role in the 2003 movie ‘And Starring Pancho Villa as Himself’, with Antonio Banderas and Jim Broadbent, that gave the actor one of his best working experiences. “I was the only London based actor, everyone else was from LA. So they’d fly down, do their thing and fly back, but I was kind of stuck there. I’d have something like nine days off, so I hire a car and drive down to Mexico City.”

    Like many Australian expats, he and his wife took advantage of their European base and travelled as much as possible. “It was the era of cheap flights, although I never actually did find that mythical £1 [AU$2] fare. But £30 [$60] isn’t bad for a weekend in Amsterdam, even if you can’t remember it,” he laughs, his blue eyes glinting.

    Day’s adult escapades mirror those of his youth. When he was seven, his divorced mother packed up her job as an English teacher and took him and his brother, Michael, then nine, around Europe for six months. “I have memories of drag queens giving me a birthday cake in Amsterdam and Greek soldiers on the island of Samos giving me cigarettes so I’d bring my mum over to chat to them. And we were only made to do homework for about a month,” he says laughing. “The whole experience definitely went some way to influencing my wanderlust.”

    At the age of 11, Day was sent to the US to live with his father, a newspaper correspondent based in Maryland. It was there the youngster caught the acting bug. “I remember being behind at school and taking drama as a kind of opt-out, and it just stuck with me.”

    When he returned to Australia, he signed up to the youth theatre at St Martins in South Yarra and was spotted by an agent. Soon, after, he was sent to Sydney to start work on a ‘Country Practice’.

    Fast-forward 20 years and, today, Day is here to discuss his latest film, the captivatingly titled ‘My Year Without Sex’. Written and directed by Sarah watt, whose first film, ‘Look Both Ways’ swept the boards wit AFI and international awards in 2005.

    The film is about a young suburban couple who face a nookie-free 12 months after the wife, Natalie (played by Sacha Horler) has a brain aneurism. It’s a tenderly poignant film, a love story that flits between tales of debt, anxiety, faith, extramarital temptations, domestic chaos and nits.

    Day had plenty of his own family experience to draw on for his role as Natalie’s husband, Ross. While in England, he and Thomson had a son, Jackson, now four, and Day can remember the specific moment, when he knew his life would be forever different. “I was walking down the street and was like, oh wow. It’s one thing to go out to London’s East End when you’re 28 and single, but when you’re pushing a pram at 7am and everyone is coming out of the bars, you’re thinking there’s been a shift in the world. Suddenly everything takes on a completely different look.”

    Day’s personal life has a habit of being as dramatic as his character’ and Jackson’s birth was no exception. The actor had to fly back from Poland, where he was filming a drama-documentary about the Blitz, and just managed to arrive home in time to pick up a heavy labouring Thomson and call a taxi to the hospital.

    “The cabbie was like, “Make sure she doesn’t drop in the back seat, mate.’” And the rest of the delivery was just as theatrical: “We were at The Royal London – a hospital that makes Charles Dickens look like Danielle Steel – and the couple next to us were arguing. She’s like, ‘You went to the pub and I’m stuck in here with this little ******!”

    Day doesn’t say if it was this charming experience or an eighth English Winter that made he and Thomson decide to move back to Australia, saying diplomatically that London “isn’t an ideal place to bring up a kid”. But perhaps the London cab drivers made a lasting impression: “Cabbies would always ask, You’re Australian, are you?’ I’d say, yeah,’ and they’d reply, ‘So, why do you want to be here then?’”

    The work-life balance is something the quietly determined Day has down pat. “I’m grounded in my family life, but that focus has made me sharper in my career. I’m probably more ambitious now than when I was younger, when I was more willing to go where the wind blew me.”

    And his long-deprived Aussies admirers don’t have to worry that he’s about to disappear from our screens once again. “I’m less afraid of new opportunities and of stretching myself than when I was younger. I probably took for granted before, but I enjoy acting now more than I ever have.”

    Day’s easy confidence stems from a philosophical approach to his future and he readily admits he was worried about returning to work in a country that best remembers him as a gawky boy-next-door.

    “You always think you might have been out of people’s minds for a while,” he says. “Making the decision to come back was nerve-racking, but I think there’s the worst that can happen, and the best that can happen, and you usually end up with something in between. Fortunately, its worked out at the better end of the spectrum.”

    My Year Without Sex is in cinemas May 28. Catch Matt Day in ‘The Wonderful World of Dissocia’ until May 23. For dates, visit

    * The Sun-Herald (Sydney) – Sunday, 24 May 2009 (Page 8)

    Extra – Film

    A new dawning

    Muriel’s Wedding alumnus Matt Day takes pride in the lines on his face and relishes the new depth they have brought his career, writes Steve Dow.

    Matt Day hadn’t intended to audition for his latest Australian film role. He got the gig nearly two years ago towards the end of a long stint living with his wife and young son in London when he helped an actress friend make an audition tape.

    Director Sarah Watt decided she wanted to cast the guy feeding the lines – Day – as the lead male in her film ‘My Year Without Sex’ but it was a ‘no thanks’ for the hopeful actress to play his wife. How did that go down with his friend? “I don’t know.” Says Day with a rueful laugh, though he points out actors often make such tapes together. “We haven’t spoken about it. It’s never been discussed.”

    Such are the whims of filmic fortune. Fifteen years ago, at age 22, Matt Day shuffled onto cinema screens as the young daggy guy Brice Nobes, who anxiously chats up serial liar Muriel Heslop, played by Toni Collette, in an Oxford Street video shop in the classic Australian movie ‘Muriel’s Wedding’.

    Less than a week spent filming the small but memorable role in P.J. Hogan’s dark comedy turned him from soap star – 200-plus episodes of ‘A Country Practice’ beginning at age 17 – to potential screen star. But the big budget films roles didn’t quite arrive.

    Now, at 37, and with almost a decade of strong British television work behind him, Day is making a rare return to cinemas, this time as a daggy dad.

    The Melbourne-born, blue-eyed boyish actor returned to Sydney in late 2007 with his journalist wife, Kirsty Thomson, now a producer with Australia’s ’60 Minutes’, and their son Jackson, 4.

    Having lived for eight years in Shoreditch in London, where he carved out a living in British television roles, Day is happy to be back in Sydney’s eastern suburbs.

    Dressed in a finely woven grey jumper and checked shirt for our interview, Day submits to a little make-up and styling for the photo shoot. His agent insists, though it seems unnecessary.

    He could pass for younger without the powder but who knows if his minders have read the thoughts of one online film reviewer in a recent blog entry. Before sliding sideways into an anti-Botox rant, the reviewer amusingly declared Day’s “ability to underplay emotion” via his cosmetically untouched “facial wrinkles” in ‘My Year Without Sex’ profound and engrossing”.

    Day says he has no intention of messing with his facial expression lines.

    Indeed, Watt, the award-winning writer-director of the 2005 film ‘Look Both Ways’, wanted Day to play a slightly older father of two opposite Sacha Horler in the new comedy-drama, which opens in cinemas this week, Day’s character Ross is 39 and must forgo anything more strenuous than cuddles for a year when Horler’s character, Natalie, falls dangerously ill.

    A few short years ago, Day would have baulked at playing a long-married dad; he simply would have looked far too young. Until he was about 30, he would still get asked for ID in licensed venues.

    Day says he would probably have read Watt’s script and spluttered: “What, I’ve got a 12-year-old?”

    Back in the 1990s, funny, endearing and able to resist Muriel Heslop’s offer of a Tim Tam back in her apartment, Day seemed primed for an international film career. After the critical and commercial success of appearing in Emma-Kate Croghan’s 1996 ensemble film ‘Love And other Catastrophes’ – Day’s favourite role from that period – and being nominated for Australian Film Institute and Australian Film Critics’ Circle awards for his star turn opposite Frances O’Connor in Bill Bennett’s 1997 mystery thriller ‘Kiss Or Kill’, he considered the path blazed by many Australians to Hollywood.

    Day spent a year being schooled in Washington in 1983 at the age of 12, living with his father, Peter, then a newspaper bureau journalist and now a public relations professional in Sydney. Day’s mother, Rhonda, works for the ANZ Bank at its Melbourne headquarters and older brother Michael edits the Melbourne sustainable house magazine ‘Sanctuary’.

    The actor also spent a couple of months in Los Angeles in his mid-20s seeing if he might capitalise on his early film success. “I don’t know if I was really prepared for it and probably didn’t have enough confidence in my own ability to be spending the time there,” he says now.

    In early 2000, he chose the road less travelled by Australian actors these days – to London, largely so Sydney-born Thomson, whom he had married in a quiet Sydney ceremony at her parents’ house in 1999, could work as a journalist. Day found a string of TV guest roles in shows including ‘Hotel Babylon’, ‘Secret Diary Of A Call Girl’ and ‘Spooks’.

    He has no regrets about his time in Britain, “and I did a handful of jobs I was really proud of”. His favourite job came in 2002, when he played Frank Hurley in the Channel Four drama ‘Shackleton’, opposite Kenneth Branagh in the title role of the Antarctic explorer. Yet the experience revealed a confronting truth. “When you’re living on a boat for a month you get to see this microcosm of British society,” says Day.

    “Particularly the interplay between crew and cast – there just isn’t one; there was northern compared to southern boys and what they call public schools compared to state schools. The class roots are very deep.”

    Returning to Australia and making Watt’s film last year. Day was able to draw on his own long-term relationship with Thomson and his experiences raising Jackson, who, he says, “is perfect, of course, but I would say that, because he’s mine”.

    He’s very curious and [has] a good sense of humour and shows some worrying tendencies to want to act,” Day laughs, clearly relaxed because he rarely discusses his family life in interviews. “Jackson came onto the set of this TV series I was doing last year and instantly leapt in front of the cameras and started doing a dance. I just thought, “Oh, no!’”

    Day can’t help but lead his son by example; he has just finished a stint on stage at Sydney Theatre Company in Anthony Neilson’s play ‘The Wonderful World Of Dissoccia’, and he doesn’t rule out a future crack at Los Angeles. “That’s never off the agenda; I’ve got representation over there and they’re always saying, ‘Will you come and spend some time?’ But I’ve been lucky here; it’s been flat out.”

    One suspects the family of three might be hard to budge as they settle back into the Sydney lifestyle.

    “There is always the feeling in another country that you don’t belong.” Day says. “There are things you feel you are not party to; that’s probably more to do with my own neuroses than any kind of reality. But I do feel very comfortable being back here again.”

    ‘My Year Without Sex’ opens in cinemas on Thursday.

    Photos: (1) Happy to be back…Matt Day in Sydney and (2) in ‘A Country Practice’ in 1996.

    * The Courier-Mail (Brisbane) – Saturday-Sunday, 23-24 May 2009 (Page 6)

    Q Weekend [Magazine] – Intro

    On the couch with actor Matt Day. By Karen Milliner

    My worst habit is … caffeine, and lots of it.

    The last time I cried was … when I couldn’t get a coffee ten minutes after waking.

    My guiltiest pleasure is … daytime movie-going.

    I realised I wanted to be an actor when … it got me out of doing PE at school.

    The actor I’d most like to work with is … Peter O’Toole. He’d have some great stories to tell in between takes.

    The highlight of my eight years working in Britain was … landing my first job, in [2002 Kenneth Branagh telemovie] ‘Shackleton’.

    My most embarrassing moment on stage has been … dropping my pants, which I’ve been doing eight times a week at the Sydney Theatre Company [in ‘The Wonderful World of Dissocia’].

    What keeps me awake at night is … too much caffeine.

    A book that means a lot to me is … ‘Clean Straw for Nothing’ by George Johnston.

    The strangest place I’ve been recognised is … in a bar in Ammassalik, Greenland, by a very drunk Norwegian sailor.

    A song that resonates with me … ‘Once in a lifetime’, Talking Heads.

    The question I’m most often asked is … How do you remember your lines?

    The single thing that would improve my quality of life is … acquiring an immunity to hangovers.

    My secret skill (now no longer a secret) is … asking for directions and ordering food and drink in Spanish.

    You wouldn’t know it, but I’m no good at … auditioning.

    A song I don’t want played at my funeral is … anything by Meat Loaf.

    The best invention is … anaesthetic.

    If only I could … habla Espãnol muy bien [speak good Spanish].

    My biggest regret is … not finishing high school.

    Day, 37, stars in writer/director Sarah Watt’s new film ‘My Year Without Sex’, in cinemas from Thursday.

    * The Courier-Mail (Brisbane) – Thursday, 28 May 2009 (Page 43)

    Matt has his day. By Andrew Fenton

    For the past 15 years, actor Matt Day, has seemed on the verge of becoming the next big thing, but, frustratingly, it’s always remained out of reach.

    From 228 episodes as Julian “Luke” Ross in ‘A country Practice’ to ‘Muriel’s Wedding’ and the AFI Best Picture winner ‘Kiss and Kill’, he’s had some rave reviews and wildly popular work. Moving to London eight years ago, he immediately scored a plum part in acclaimed miniseries ‘Shakleton’ opposite Kenneth Branagh, but the work that followed was more steady than career-making.

    Now he’s back in Australia with a leading role in Sarah watt’s ‘My Year Without Sex’ and a new 10-part series for Showtime called ‘Tangle’.

    Perhaps Matt’s day has come. Again. “I try not to think about it,” Day says. “I just think I’m fortunate to have been able to make a living out of it for as long as I have.

    “That other stuff you can’t factor into it. You have to take things as they come.”

    Fortune seemed to smile on Day for this role, considering he didn’t even mean to audition for the part – he was merely helping out a friend by doing a scene with her for a taped audition. Day says he’s pleased to be living in Australia again. “It was really nice to come back and land a job in my home town, Melbourne,” he says.

    “To be honest, the most fun part was working with a filmmaker like Sarah, who has something to say and a vision. I think she’s an artist.”

    Watt, of course, is the director of the 2005 Adelaide Film Festival opener, ‘Look Both Ways’, which went on to win the AFI for best film.

    ‘My Year Without Sex’ is a comedy drama about a woman called Natalie (Sacha Horler), who has an aneurism and has to recover over the course of a year. “She has to avoid straining herself, hence the title,” Day says.

    He plays husband Ross, helping her as they struggle with the ups and downs of family life.

    Don’t be fooled though, this isn’t a dark and depressing tale like some other recent Aussie flicks.

    “If you’ve seen ‘Look Both Ways’, you’ll have a good idea of the subject matter and the style. And it’s as good, if not better than that film,” Day says.

    Day has just finished shooting ‘Tangle’, a series by the people behind ‘Love My Way’ and ‘Satisfaction’. It’s about “the tangled lives of parents, teenagers and the shifting moral compass of modern life”.

    “It seems like happy families but there’s dark undertones; there’s dodgy stuff beneath the surface,” Day says.

    “I think Australians have always reacted well to comedies, especially homegrown ones, and I think it will certainly equal or better ‘Crocodile Dundee’. I’d be happy with that.”

  2. Maria Diana Catacutan Says:

    i really love the cover of them!

    they are IN the zone!

  3. Gary Silis Says:

    I have two copies of the RCA single THE WINNER TAKES IT ALL where the second “B” was reversed in error. I went back to the record store to get more copies a few days later and they were withdrawn and the correct versions were only available. I have checked and no one seems to know about this error on this single. Do I have the only three known copies to exist?

    • Ian Cole Says:

      The New Zealand pressing of The Winner Takes It All (and a few other singles) had the second B flipped on the label, rather than the first. Copies on the New Zealand single were available in Australia, probably to meet unexpected demand. Is this what you have, Gary?

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