December 2, 2025 • 37 mins
Lizzie Eastham and Sam Rickard present Studio 1 - Vision Australia Radio’s weekly look at life from a low vision and blind point of view.
On this week’s show
“Changing Track”
It’s unusual we release the podcast of a show before it airs, however we have our reasons...
“In a velodrome on the other side of the world, three Australian cyclists are about to chase a Paralympic dream that they could never have anticipated.”
A new documentary called “Changing Track” premieres in theatres around Australia on the 3rd December. Sam talks to Emily Petricola, one of the athletes featured; as well as writers and Producers: Timothy and Tristan Kenyon.
We present a preview of what to expect: some insights into the motivation of both the subjects of the film, and indeed the producers of it; and why seeing some films on the big screen is so important.
If you want to see “Changing Track” - at the moment for one night only – go to https://changingtrack.com/tickets/
Studio 1 welcomes any input from our listeners. If you have any experience or thoughts about issues covered in this episode or believe there is something we should be talking about.
You may also be interested in joining our choir of angels and telling your story.
EMAIL: studio1@visionaustralia.org or leave comment on the station’s Facebook page: https://www.facebook.com/VARadioNetwork
A special thank you to Emily; Tim and Tristan.
To find out more go to: https://changingtrack.com
This program was made possible with support from the Community Broadcasting Foundation. Find out more at https://cbf.org.au/
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
S1 (00:14):
This is Studio One with Sam Rickard and Lizzie Eastham
on Vision Australia Radio.
S2 (00:25):
Hello, I'm Sam and.
S3 (00:26):
I'm Lizzie.
S2 (00:27):
And this is Studio One, your weekly look at life
from a low vision and blind point of view here
on Vision Australia Radio.
S3 (00:32):
This week, to coincide with the International Day for people
with a disability, a new documentary is being premiered tonight
in cinemas all around Australia.
S2 (00:42):
Changing track looks at the lives of three Paralympic cyclists
asking why they ride. I talk to Timothy and Tristan Kenyon,
the two filmmakers responsible for the documentary, as well as
Emily Petricola, one of the three athletes featured.
S3 (00:57):
As we always say at this point, please do get
in touch with the show. Whether you have experience of
any of the issues covered on this week's episode of
Studio One, or if you think there's something we should
be talking about. You never know. Your story and insight
may help someone who's dealing with something similar.
S2 (01:12):
You can email us studio one at Vision Australia org.
That's studio number one at Vision Australia.
S3 (01:17):
Org or of course you can find us on Facebook
by going to facebook.com Slash Radio Network.
S4 (01:26):
Miss is a cruel disease because you don't know what's
going to happen or how it happens. I remember laying
in bed one night, like actually thinking like, what's the point?
If this is what life is, this is not living.
S5 (01:46):
During primary school, my whole world was kind of falling
apart because I. I was ten years old and heavily bullied.
Inclusion was always a challenge. You were included and that's it.
You're included. But you kind of sit at the bottom
of the class.
S6 (02:03):
Brain injuries are funny because you can't see him, but
they're a real thing. There was never, ever a time
I got bogged down in my injuries, or how can
I get back to playing footy with my mates after
both accidents? That was always like, I just want to
get back to normal.
S5 (02:27):
On the days that I'm having a bad day on
the bike, like with my head, I always feel like
I've worked out the solution by the time I get home.
S4 (02:37):
I don't know if I'm having a relapse or if
it's just going to be a transient thing. And what
does this mean long term?
S7 (02:44):
It's invisible. Someone might look at her in the street
and say, oh, well, there's nothing wrong with you. I
don't see it.
S4 (02:50):
I want to be as capable, if not more capable
than I was.
S8 (02:56):
To make a Paralympic team, it's pretty special.
S5 (02:58):
What difference this sport has made to my life. Tandem
cycling offers me the opportunity to be included in a
sport that otherwise I wouldn't be able to compete in.
S4 (03:08):
It's so hard to do this, and it's actually so
rare to get the opportunity to be selected to a
Paralympic team. So I just feel really proud.
S5 (03:15):
Being like a kid born with a disability like you.
Look up to these people once a.
S4 (03:20):
Paralympian.
S5 (03:21):
Always.
S4 (03:21):
A Paralympian.
S9 (03:25):
It's a fragile time. As an athlete, you feel the
anticipation of the biggest event of your careers.
S10 (03:34):
Tandem crashes are not pretty.
S5 (03:37):
What happened to us was the literal worst thing that
could have possibly happened. Deep down, I had this sense
that maybe the Paralympic dream was over.
S6 (03:46):
I never let anything define me. How can we move forward?
How can we come out of this stronger?
S4 (03:55):
The universe will let you know when you need a change. Track.
Para cycling has been this enormous silver lining of a
pretty dark cloud. That is miss.
S2 (04:14):
So coming soon to a theater near you is a
new documentary. In fact, it previews on Wednesday the third.
So if you're listening to this on air, it's tonight. So, um,
we'll tell you at the end of the show where
you can get tickets. Otherwise, if you're coming to us
on a podcast, it's probably tomorrow night or, well, it's
been and gone. Joining me today is the amazing Emily Petricola,
(04:35):
who is a well known to many as a Paralympic
cyclist and gold medalist. How are you today? I'm good. Thanks, Sam.
How are you? I'm pretty good. What's it like to
be in a movie?
S11 (04:45):
It's pretty odd to watch yourself on screen and he
hear your own voice back. It's confronting enough when you're
just listening to a voicemail message, let alone then sitting
in a cinema full of people watching and listening to
yourself playback. But, you know, it's it was a pretty
special experience. And we were really lucky that Tristan and
Tim really just created a safe space for us to
(05:06):
be able to tell our stories.
S2 (05:07):
So they started out by filming in Paris. Um, were
they particularly noticeable or. I mean, where did you feel
comfortable just to act as per normal?
S11 (05:17):
I did in Paris, like when we were in the
we started a staging camp in Bordeaux and Tristan was there.
He was actually by himself. He was around the hotel
and would come to some training sessions and was really unobtrusive.
But to be honest, I was not in a great
way through the preparation. I was having an Ms. relapse actually,
throughout the preparation and throughout competition. So when I wasn't
(05:39):
training or at meals, I was pretty isolated in my room,
pretty much just trying to recover as much as possible
and try and keep my system as quiet as I
possibly could. So I actually felt almost guilty because I
felt like I hadn't been super welcoming to Tristan, but
we spent a little bit of time together at meal times,
and he came out to, I think, one road session
(05:59):
and was it a number of track sessions. So when
he was there it was really unobtrusive. Was never in
your face, or never made you feel like you were
being photographed or videoed throughout the whole thing. We could
we could get on with the business at hand. So
all of the interviews and stuff took place after we
got back.
S2 (06:16):
So those Pre-competition camps are strange beasts in themselves. I mean,
you've got this combination of trying to get a little
bit of extra training in, but also not pushing out
too much because you're saving yourself for the competition. Being
sick as well would have been, well, not ideal.
S11 (06:33):
It was far from ideal. It was really challenging to manage.
We knew though. Probably started eight weeks before Paris competition started. Uh,
the start of having my relapse. And so we were
managing from that point forward how how to get me
to the start line as uncompromised as I possibly could be.
We knew there was going to be some compromise, but
(06:53):
I'm really lucky that, you know, the doctors that were
working with me from the Vis and then Paralympics Australia
is the head doctor. Steve Say, right? I was on
the case from the second I landed in Bordeaux, and
so everyone was across where everything was at. And then
Alice McNamara, who was the vis doctor, but also the
para cycling team's doctor for Paris. She was in constant
(07:16):
communication with my neurologist to manage me as well as
we could through that, that period, it was really honestly
it was everyone sees the gold medal moment where, you know,
I'm ecstatic. But half the reason I'm so ecstatic half
is because my brother and one of my best mates
was there with their kids, but the other half was
just the fact that I'd been able to achieve something
when I really wasn't even sure what was going to
(07:38):
happen with me. You know, on the day.
S2 (07:40):
I suspect that knowing that at least somebody had your
back as far as all that goes, meant that maybe
you couldn't necessarily control things, but somebody else had some
degree of control over what was going on.
S11 (07:51):
Yeah, I don't think any of us had any control
over it. But what I knew for sure is that
the doctors, as well as the physios, were working really
hard to make sure I could get to the start line.
So I just had to put my trust in faith
in them that everything would work out the way it
needed to, and anything. We were doing everything we could,
and I just had to trust that my body had
(08:12):
done enough in the lead in that whatever performance we
put out would would get me the result. And luckily
for all of us, it did.
S2 (08:19):
So some of us have been born into the world
of disability. You, um.
S11 (08:24):
Acquired.
S2 (08:24):
Acquired. That's a good word. Good word? Yes. You acquired M.S.? Um,
did you know much about, um, disability or the Paralympic
movement prior to that?
S11 (08:33):
Not much at all, to be honest. When it was
actually a friend of mine who was an Olympic rower,
he was the one who suggested I think about Paralympics. Uh,
and I'd been sick for seven years at that point.
So when he said it, I sort of started laughing
because he knew the way that my body worked, and
he could see the way that I moved and that
it wasn't regular, and that I struggled with certain movements
(08:55):
and certain things in life. And so when he suggests
I'm off because I didn't think it was for anyone
that had my sort of problem. I think it was
really only for amputees, visually impaired or spinal cord injury athletes.
And he but he knew Carol cook, who had M.S.,
and she'd gone to the previous games and won a
gold medal. So he put me in contact with her,
(09:17):
and she talked me through what classification was and the
breadth of what classification looks at and what the competition
actually covers. So I was like, okay, I'll go and
see if I can be classified. And I was classified
as a C4 cyclist.
S2 (09:31):
The functional classification system has a lot is a is
a great old thing. It's been around now for nearly
30 years. And yes, it is a good catchall.
S11 (09:40):
Yeah, it is like I think the beautiful thing about
the Paralympics is that, yeah, you have the whole spectrum
of disability covered. You know, I think that that's it's
not easy to do. And you know, there's always controversy
around classification, but it's it's a flawed system. But it's
it is a system and it does allow people with
disability to compete in the most fair way possible. In
(10:03):
the biggest event in the in the, you know, in
the world. So I feel I feel incredibly lucky to
be a part of it, despite the fact that I
have to have had this awful disease that pretty much
each year gets worse. You know, my ability gets worse
every year and my disability gets bigger. So, you know,
it is such a silver lining for me to to
(10:24):
be able to focus on something super positive in terms
of what I can do as opposed to the things
I am not able to do anymore.
S2 (10:32):
Travelling overseas for your country and representing your country is
its own reward in itself, isn't it? I mean, it
is just something that you sort of sit there and
you think no one else is actually doing this, or
no one else can do this.
S11 (10:43):
Totally. And it's not because the competition's any easier or
any lesser. It's, you know, you still having to commit
the same amount of time and energy to training. It's
just you've got some bigger things to work around and
your average able bodied person. So it's a real gift.
Like I feel really privileged to be able to do it,
(11:04):
but I also work really hard for the opportunity. So
it's one of these things people are like, you're so lucky.
You're so lucky. I'm like, there's a there's not a
lot of luck involved in a like, let me tell you,
most of it's just hard work and sacrifice.
S2 (11:17):
I'm going to tell you a secret as a retired
athlete is there's an awful lot of luck in it
as well. Um, anyway, but I'm going to ask you
a slightly cheeky question. As a former distance runner myself,
why cycling?
S11 (11:29):
It's actually the only sport I can I can do.
I was a rower when I was younger and I
can't physically do anything else. I can't run anymore because
my legs and my feet, I can't lift because my
other bookmark, the chain at the top of my body,
is also compromised. Now, like my arms and my hands
don't work properly. So it really only left one thing
(11:50):
which was cycling. It was the only thing that I
could do when everything was going pear shaped. So that's
how that happened. And because I was able to. You know,
as a rower, the physiology systems are pretty much the
same across rowing and cycling. I was the engine was
already there. It was just it was in hot, it
was hibernating. So it just needed to be re-activated. And
that's why I've been able to be successful.
S2 (12:10):
I think having watched you as as a cyclist, I
doesn't show that it's the only thing you can actually do. Um,
everything seems to do what it should do. Well, the
big question that they, um, producers seem to ask throughout the, um, movie,
and that's what they're sort of, um, premiere thing. That's
what they wanted to do was why do you ride.
S11 (12:27):
As I said, like it's it's the only physical thing
that I can do consistently, um, anymore. And so that
was that's the primary reason. Um, but also like, it
helps with my condition. It sort of I've got secondary
progressive Ms.. Now, and one of the main treatment options
or suggestions from my neurologist is to exercise. And because
(12:49):
this is the only exercise I can do, that's why
I'm on the bike. But the reason why I compete
at the highest level is really because I'm just trying
to be the best that I can be with what
I've still got. So I don't know if it's or okay.
Sometimes I question whether I should be doing it as
much as I am, but my neurologist assures me that
I'm not doing myself any damage and is really encouraging
(13:09):
around what it is that I'm trying to do. So
I'll believe him for as long as it suits me.
And then when the time comes, which is not too
far away, I don't think I'll just go back to
being a social cyclist rather than a high end elite athlete.
S2 (13:24):
I used to think when I was running up hills
all the time, that I should have just picked golf instead.
What is and I'm saying this as a again, as
someone who's been through this, what is the coolest thing
about actually being an elite athlete?
S11 (13:38):
I think it's the opportunity to represent your country and
to travel the world doing it. I think you meet,
you know, a whole lot of really interesting people, but
you get to have these incredible experiences along the way.
And I think because I've came to this sport when
I was older. Um, you know, I was 35 when
I first got on the bike and started racing. And then,
(13:58):
you know, it was a few years before I made
my first national team. You really appreciate what the opportunity
gives as a whole experience. It's not just like it's
amazing to be able to go and ride your bike
and race and win win medals, and I'm competitive, so
I like to win, but it's not the main reason
that I do it. The main reason I'm doing it
is to show myself what I can do every day,
(14:20):
but also to then be able to, you know, I
met my partner through the team like it's really opened
up this whole other world. But yeah, it's different, I
think for para. Well, it is for me as someone
with an acquired disability. But, you know, I feel like
so much gratitude around the opportunities that I'm given.
S2 (14:37):
So maybe we can talk a little bit about what
your role is now the South Australian Sports Institute. So, um,
what do you do there apart from train?
S11 (14:44):
Yes, I'm a para unit lead here. So what we
are this year or 12 months ago, almost to the day. Uh,
the power units were, uh, or the power unit was born.
I guess the federal government gave a huge amount of
money for the first time in a really long time
(15:05):
to para sport and the whole system access to and
remove barriers into para sport and the elite levels of
para sport so that we can improve our performances with
Brisbane 32, um, as the ultimate outcome. So for us,
we're at the moment, we're searching for the next generation
of superstars from South Australia, the Paralympic superstars. So we
(15:27):
run programs, um, each term there are eight week programs
for anyone with a disability looking to get into para sport.
They can come and sign up for one of our
programs over the eight weeks. They're exposed to 14 different sports,
and we can help them work out which sport will
work best for their impairment. So there's a lot of
opportunity just in the hope that we can keep finding
(15:48):
Running or like connect people to sport as it is
the first, most fundamental reason that we're here and then
hopefully find some talent to accelerate into the high performance system.
S2 (15:59):
And there are people like you all around Australia because
we are national. And so if you are listening and
you want to give a sport a go, whether it
be cycling or track or swimming or anything, then contact
your local power unit at your institute or sport or academy.
So what is next for you? You sort of said
you're sort of, um, keeping on going while you can
keep on going, but in the very near future, what's
(16:21):
next for you?
S11 (16:21):
Oh, good road nationals in January. I think I'm going
to race there next year. There'll be a couple of, uh,
road World Cups and hopefully road world Championships and track
World Championships. And with the my I've committed now through
to LA if I make it that far. So that's
that's pretty much where we're what we're aiming for. We'll
see where we get to with it.
S2 (16:42):
Well, Emily Petricola, thank you so much for joining us.
S11 (16:44):
Thanks so much.
S1 (16:48):
This is Studio One with Lizzy and Sam on Vision
Australia Radio.
S2 (16:55):
So welcome, Timothy and Tristan.
S12 (16:59):
Hey, Sam, how's it going? Really good. Thanks for having us.
S2 (17:01):
So I'm looking out the window right now. It's a
a really dull, cloudy, um, day here in Adelaide. How
would you describe if you looked out the window now,
where you are?
S12 (17:13):
I'd say it's scorching hot. Um, it's, uh, pretty sunny and, uh,
a complete contrast to where we were yesterday, which was
12 degrees and cloudy in Melbourne.
S2 (17:23):
Oh, the flashy showbiz lifestyle. I know all about it. Haha. So, um,
you guys are. You might be said that you really
have a, like, a, um, a media orientation as far
as your family goes.
S12 (17:38):
Yeah. So, um, I guess at least from my parts,
I've first developed an interest in photography when I was
quite young, my grandmother, my grandmother was a prize winning photographer.
So I think I was playing with cameras from about
the age of five. And I started to develop an
(17:59):
interest there. But we grew up with a father who's
a graphic artist as well. Our uncle is a painter. Uh,
mum's into a writing surrounded by creative people in our family. And, um,
I'm jumping in here. This is Tristan. Now, my mum
always gets mixed up. Mixed up. So sometimes can't tell
the difference between our voices. So that was Tim just
(18:20):
saying all of that. But, um, I've always, um, you know,
growing up, uh, Tim's my big brother, and he started
getting into animation, um, in university. So while I was
still in high school, that was a big, um, big
sort of inspiration and influence for me as well. So
I sort of, um, wanted to follow suit with that. And, um,
we've always wanted to do films together.
S2 (18:41):
So, yeah. Talking of films. So you might say that
this film is, um, 25 or 24.5 years in the making,
as it were.
S12 (18:48):
Very much so. Yeah. Look, uh, 25 years ago, Tim
and I both went to the Paralympic Games in Sydney 2000, and, um. Geez,
I was about 15 years old at the time, and, um,
not a very happy person. I was, um, quite depressed. Um,
you know, I'd gone through, um, probably about 2 or
(19:09):
3 years worth of quite severe cystic acne. So I
was on, uh, particular medication, which I'm fairly sure is
banned now. In fact, both of us were on that medication,
aren't we? Unfortunately, yes. And one of the big side
effects of that medication was depression as well. So it
was a bit of a double whammy. So we went yeah,
we went to the Paralympic Games. And it was such
a such a huge inspiration to see athletes from all
(19:31):
around the world, um, come and achieve amazing results despite
their disabilities. So yeah, that was that was a really
big inspirational moment for us and just a beacon of
hope as well in a in a dark time. So
I'd say it's exactly what we needed at that moment
in our life. Just a little bit beacon of hope. Yeah.
S2 (19:48):
Ah, yes. Well, I was actually at those games, too.
I was on the other side of the fence, however, um, doing, uh,
track and field.
S13 (19:54):
Oh, wow.
S2 (19:57):
A lot of people who have not had experience with
the disability community will have their own expectations and be
surprised on, on certain things. So we'll start with Sydney 2000.
Was there anything that really surprised you as far as
that went?
S12 (20:10):
I think, um, I mean, coming from at that time,
you know, we, we, I guess we went to the
Olympics first and then going to the Paralympics, I don't know,
I remember Tim and I enjoying the Paralympics so much
more and just seeing, you know, and thinking, wow, geez,
what are the there must be some amazing stories behind
(20:31):
getting to this point. You know, I know and not to,
you know, poo poo any, uh, able, able bodied athlete.
But you know, the para athletes obviously have to deal
with so much more and challenges on the way up
to this point of being an athlete. And so seeing
that was, yeah, pretty amazing. And all the different types
of sports that, um, you know, you could experience as well.
(20:53):
It was quite interesting.
S13 (20:55):
I think something that's uh, I felt at the time
and definitely has been reinforced, uh, during our experience of
working with them now as well. Gordon said something quite
profound to me. Uh, a few weeks ago at one
of the screenings, he mentioned he likes to think of
them as athletes with a disability rather than disabled athletes. Um, and, uh,
(21:17):
I really felt that at the time when I saw
the Sydney 2000 Paralympics and working with them now as
well really feels that way. These are incredible athletes, uh,
achieving things at the same level as the Olympians, despite
what they've been through. And I think that's truly the
amazing story here.
S2 (21:35):
Indeed. So we'll talk about the movie now a bit more.
So So you're, um, concentrating mainly on three different athletes,
but there are, of course, a few other people that
sort of will come through because, well, it's a documentary.
S12 (21:47):
Um.
S2 (21:49):
So maybe tell us a little bit about the three
people you're where you're concentrating on.
S12 (21:53):
So the three main, main athletes that we chose to
focus on that you have, um, Emily Petricola, who was, um,
diagnosed at age 27 with, uh, M.S. and went through
quite a period of depression there before, um, before moving
through that and discovering cycling. We also have, uh, Cory Boddington, who, um, experienced, um,
(22:18):
quite a few traumatic accidents in his in his youth,
which resulted in a brain injury and affecting effects to
his right side. And then, um, finally, we have, uh,
Kane Paris, who was born with albinism and as a result,
has grown up with low vision. So we have, uh, Yeah.
There are three main, uh, focus. And then of course
(22:41):
we have, um, the rest of the Paris team as well,
that sort of feature in different ways in there and
cover off different sort of themes that we wanted to explore,
such as mental health and, um, and those sorts of things.
S2 (22:52):
So where and when did you shoot all of the footage?
S12 (22:55):
We started with, um, uh, working in Paris. So, um,
we went across to, um, to be with the team
in Bordeaux, which was there, uh, what's called their staging
camp lead up to the Paralympics. So that was, um, about, uh, August, uh,
last year, 2024. And, um, we wanted to have a
(23:17):
small footprint there. We didn't want to do any interviews.
We just wanted to sort of get to know them,
get some footage, and make sure we, you know, covered
things like them going to and from events, those sorts
of things, and really just get to build that rapport
so that, um, when we came back, we sort of
worked backwards. And then, um, Tim and I, uh, were
(23:37):
filming all around Australia because obviously the team is dotted
all around Australia, so we got to fly all around
the country and visit them all in their different states and, um,
shoot different, um, interviews and other bits and pieces as well.
S2 (23:51):
Did you catch any of the Paralympics themselves or did you, um,
do the sensible thing and shoot off home again? Um,
before it all got went insane?
S12 (23:58):
Well, no, we were I so as I say, we
were there for, um, for the Paralympics, but we didn't
actually get to go into any of the events. Um, so, uh,
you know, to be able to do that, you need
to have a media pass from about, you know, 15
years ago. And yeah, it's quite, quite hard to get that. And,
and it was quite a, quite a short turnaround getting
this project up. So um, but working with Paralympics Australia
(24:20):
and Oz Cycling, we were able to get access to
the team in their hotel, um, during the track track
stage of the, the games. So it was uh, that's
where we were able to capture all that footage of
of them coming, uh, coming and going and Preparing for
for their events.
S2 (24:36):
Did you get any inkling of, say, village life then? Um,
because one of the big things of actually going to
a Paralympics is the lifestyle. It's that, you know that
for ten days or so, you're in a completely different world.
S13 (24:49):
Unfortunately, we.
S12 (24:51):
Didn't, um, so I wasn't able to get any access
to the village. But the first week of the of
the games, which was the track, uh, track part of
it the second week is the road part. For the
track part, they were actually staying outside of Paris at
a different hotel, which was I was able to get access, but, uh, no, unfortunately,
we didn't get to experience any of the any of
(25:11):
the village life.
S13 (25:13):
Or the shenanigans that take place there, but we did.
S12 (25:16):
Some of it.
S2 (25:18):
So, uh, what possessed you guys to, um, pick a
sport like cycling and not something more civilized? Like, I
don't know, middle distance running?
S12 (25:24):
Well, so I just. And I've been working for, um,
a company called Ara for the last ten years and, um,
doing all their commercials or their, um, video and photography.
And Ara is, uh, a big supporter of sponsor of
the Australian cycling team. So, uh, the executive producer, Edward Fetterman,
(25:47):
he's a big, um, keen supporter of the arts and literature. And, um,
him and I have been talking for years about, um,
you know, doing a film or a documentary. So this,
this opportunity came around when he sort of asked me, hey,
is there a way that we can help, um, help
support the Australian cycling team? And of course, my mind,
you know, flew back 25 years to, you know, being
(26:07):
at the Paralympics, Paralympic Games in Sydney with Tim. And so, um,
I thought, geez, I don't know much about cycling. Uh,
much at all. So, um, but, hey, um, that's a
good way to learn. So I rang up Tim and said, hey,
do you want to co-write and co-produce with me? And
what did you what did you say?
S13 (26:25):
Um, well, I didn't know anything about cycling either. And
in fact, um, the last time I was on a bike,
I was 15 years old and significantly broke my leg.
So yeah, that was the end of that.
S2 (26:38):
So. So you didn't get back on the horse that
bucked you off?
S13 (26:40):
No, no, but I took up skiing many years later,
much to the confusion of my family. And I have
probably broken every other bone in my body since then, so, um,
probably should get back on a bike now, because, uh,
what's there to lose? Right?
S2 (26:53):
Just your dignity, really. But, um, you know, that's just
just the way it goes. So when we do a
project and whether it's whether it's a half hour radio
show or a, um, a cinematic documentary, we have a
picture of where we want things to go and what
we want things to do. And it usually doesn't work
out that way. Was there any big surprises that came
(27:14):
along that you're going, oh, I wouldn't have thought that
would have happened.
S13 (27:17):
I think, uh, this is Timothy here. Uh, I think
we kind of we went into this project with a, uh,
foundation of what we wanted to achieve, but we had
to go into it with an open mind, knowing that
as we discovered these athletes stories, that the story would
shape around that, obviously. So we had to be open
(27:40):
to seeing where that went and, uh, see what what
stories fit within the movie that we want to make. And, uh,
also be able to react to, to what they were
willing to talk about as well. So I guess the
we went into the film with a very basic question
of why do they write? We just kept asking ourselves
that and asking them, why do you write? Why have
(28:02):
you committed your whole life to this, this passion? And
I think I feel fairly confident we managed to answer
that question with this movie. And that became a big
story about, uh, the the mental health benefits of, of them, uh,
passionate about this and the community they're surrounded by that
just really supports them in such a great way. Um, but, uh,
(28:25):
how that story was told definitely evolved over the film.
You quite often hear filmmakers say that a movie is
made three times, once in the writing's second time when
you're shooting it, and third time in the edit. Uh,
that definitely was the case for this film. It definitely
grew as it went along and, uh, we adapted to
to what was surrounded us.
S2 (28:45):
So the film is coming out, um, on the 3rd
of December and literally coming out everywhere. I've had a
bit of a look around, uh, there. So if anyone
wants to, um, is curious now and wants to go
and see it, what would they do?
S13 (29:00):
Well, um, it's available to watch, uh, either through Village
Cinemas or Event Cinemas, uh, the two big chains that
are following at the moment. But we've also got some
independents that have picked it up here and there as well.
So I think the best thing to do is to
look at your local cinema and look for changing track and, um, it's, uh,
it should be showing somewhere near you on the 3rd
of December. And you could.
S12 (29:20):
Also jump on our website, which is changing track. Com
and uh, put, you know, if you need to put
a forward slash and then put tickets and, um, we
have everything listed on there as well. If you need
to have a quick link to to, you know, find
the nearest one in your state.
S2 (29:35):
Now a lot of our listeners here are blind or
visually impaired. So the big um, bugbear is audio description.
Will any of will any of this be audio described.
S13 (29:44):
So we're quite proud of that side of this film.
When we went into it, we decided that we wanted
to make a film that was equally enjoyable to somebody
that couldn't actually, uh, get the full experience from, from
the visual side of things. So we put a lot
of work into, uh, working with our composer, Anthony Lamarr,
(30:05):
who produced an absolutely wonderful music score for this film.
We worked with Rumble Studios to produce an incredible soundscape
that happens with it as well. So there are some
scenes in the film where we focused on the concept
of what we call flow state, which is that moment
when somebody is just in the zone, they're in their moment,
they're just on their bike and everything's, Things are going
(30:25):
the way they want to go. We really want the
audience to feel that. And for somebody that can't, uh,
isn't able to, uh, experience the visual side of it.
We wanted to enjoy it from an audio perspective as well. And, uh, finally,
what we also did was we produced, uh, an incredible
audio descriptive track for this film as well, uh, which
is available in the cinemas, um, at request, with the
(30:47):
cinema chain.
S2 (30:48):
So filmmaking is a sort of a process. Was there
anything that you left on the cutting room floor that
you thought that just wouldn't fit in, but were thought,
that's a shame.
S13 (30:58):
Uh, let's.
S12 (31:00):
Look to take. So we had I think it was
about 140 hours worth of footage, um, and 50 hours
of that was interviews. And, you know, although as Tim
was talking about before we, we we did, you know,
write specifically, um, quite a lot of stuff. And that
involved writing questions that, you know, um, covered parts that
(31:20):
we wanted to talk about. You know, you could you
could talk to these athletes for 10 or 15 hours
if you wanted to, but, you know, without, you know,
coming back with hundreds of hours of footage and then
need to plow through that. There's so much there that,
you know, we would have loved to include in there. But,
you know, there were some tough decisions, obviously, we had
to make. And, you know, again, as Tim was saying,
we just had to keep coming back and asking ourselves
(31:42):
that question about the why and what, you know, what's
the story we're trying to tell here.
S2 (31:46):
So before we go, um, with Sydney, 2000 kind of
changed your perspective as, uh, young people has, um, making
this film and dealing with, uh, people with disability and
athletes with a disability change any of your outlook or
anything like that now?
S13 (32:01):
Oh, absolutely. I think, um, working with these people has
been so inspiring from our personal perspective as well, just, uh,
working with them through the whole production process. They've just
been so incredibly supportive. Uh, you keep hearing them talking
about the community that supports them and what they love.
And we really felt, uh, through this that they were
(32:23):
very supportive of our process. Um, we would constantly we
had these little chat groups going with them, and they
were constantly checking in on us, seeing how we're going,
making sure we're getting enough sleep. And, uh, I'd say
that was quite inspiring to me, but also just yeah,
these people are such incredible athletes at what they do.
And it's it's truly remarkable. You just it doesn't come
(32:46):
into your mind. Anything else really, other than just the
there's Corey riding up and down that mountain all day
just so I can get the right shot. And, uh,
he just he's an absolute machine.
S12 (32:57):
And I think, you know, it's it's. Yeah, we've all
been we've become quite close and especially over this last
month as well as with a lot of us been
on the road together, um, you know, the, the amnion
and chorion and, um, Keen's pilot rider, Luke have all
been sort of swapping out in and out as we
sort of go across the last month making our way
around Australia, premiering the film in different states. And we've,
(33:20):
you know, we've all become quite close in these last
few days especially, have been quite emotional as we've all been,
you know, slowly coming to the end of being together
and getting up and talking about the film together and
sharing those experiences.
S2 (33:32):
So to round things off, why should you go and
see this movie?
S13 (33:36):
I'd say from my perspective it reaches into, uh, the
the methods I use to get out of some dark
times in my life. Um, when I was at a
at a rough point, I found that by being passionate
about something and finding a community that I could get
right into, uh, was basically my my path out of
(33:58):
that dark time. And I think that's what these guys
have done as well. They found a community that supports
them and something that they can be passionate about and
make their life about, and has helped them get through
a difficult time. And I think this film tells that
story for anybody that's going through some kind of darkness
or a difficult time, there is a way out. And, um,
(34:18):
you just need to find that thing you can be
passionate about and to surround yourself with the right kind
of people. As, uh, Emily and Corey said in the film, and, uh,
I think that's why people should see this, it's a
very inspiring film filled with hope. At least that's what
we hope it gives.
S12 (34:33):
You know, often with films we go, oh, okay. December
3rd is the first date, and it's usually playing for
a few weeks. Well, which is an independent documentary. December
3rd is literally the date it's playing. And after that
it's not it's not playing again. So unless, you know,
we're lucky enough to secure, you know, another cinema or two,
but not on this scale.
S13 (34:51):
I think as well, um, it's been quite an uphill
battle recently in the film industry to convince the public
to go to the cinema.
S2 (34:57):
Yeah.
S13 (34:58):
Everybody seems to we keep getting asked the question over
and over again. Oh, so what are you going to
do with this? Uh, is it going to get released
on streaming? And, um, it's it's very important that people
continue to go to the cinema. That is the gauge
of success of a film still is, is how how
it does at the cinema and, uh, everything that happens
(35:18):
after this moment, uh, relies on how it does in,
in the cinema on December 3rd. So, uh, we're really
pushing hard for December 3rd and trying to convince people
that's when you want to see it. It's made for
the big screen. Uh, and it's got a beautiful surround
sound music score as well. So even if people aren't
able to appreciate the full extent of the visual side
(35:40):
of it, we always both look at each other in
the cinema. When it comes up to the rainforest section
in the film, it's all the bellbirds are all around you.
It's just such a saturating experience to see it at
the cinema rather than on your mobile phone.
S2 (35:53):
Well, thank you guys. Um, and uh. Yeah, go go
go see it. Great.
S12 (35:58):
Thanks, Sam.
S2 (35:58):
Sam, that's a wrap for this week. A big thank
you to Emily, Tim and Tristan.
S3 (36:02):
And of course, thanks to you for listening. That includes
our listeners on the Reading Radio Network. You can find
a podcast of this program, plus some extra content by
going to Apple, Spotify, Google, or your favorite podcast platform.
S2 (36:16):
Next week we're back to our scheduled program. How many
times have you been asked how much can you see?
What does it say about the human condition that we
get asked this question on a regular basis?
S3 (36:26):
And indeed that no one seems to have a decent answer.
S2 (36:29):
But between now and then, please do get in touch
with the show. Whether you have experience of any of
the issues covered on this week's episode of Studio One,
or if you think there is something we should be
talking about. You never know. Your story and insight may
help somebody else who is dealing with something similar.
S3 (36:43):
You can contact us via email at studio one, at
that's studio number one at Vision Australia. Or of course,
you can find us on Facebook or Instagram by searching
for VA Radio Network.
S1 (36:58):
Studio one was produced in the Adelaide studios of Vision
Australia Radio. This show was made possible with the help
of the Community Broadcasting Foundation. Find out more at.
This is Studio One with Sam Rickard and Lizzie Eastham
on Vision Australia Radio.
S2 (00:25):
Hello, I'm Sam and.
S3 (00:26):
I'm Lizzie.
S2 (00:27):
And this is Studio One, your weekly look at life
from a low vision and blind point of view here
on Vision Australia Radio.
S3 (00:32):
This week, to coincide with the International Day for people
with a disability, a new documentary is being premiered tonight
in cinemas all around Australia.
S2 (00:42):
Changing track looks at the lives of three Paralympic cyclists
asking why they ride. I talk to Timothy and Tristan Kenyon,
the two filmmakers responsible for the documentary, as well as
Emily Petricola, one of the three athletes featured.
S3 (00:57):
As we always say at this point, please do get
in touch with the show. Whether you have experience of
any of the issues covered on this week's episode of
Studio One, or if you think there's something we should
be talking about. You never know. Your story and insight
may help someone who's dealing with something similar.
S2 (01:12):
You can email us studio one at Vision Australia org.
That's studio number one at Vision Australia.
S3 (01:17):
Org or of course you can find us on Facebook
by going to facebook.com Slash Radio Network.
S4 (01:26):
Miss is a cruel disease because you don't know what's
going to happen or how it happens. I remember laying
in bed one night, like actually thinking like, what's the point?
If this is what life is, this is not living.
S5 (01:46):
During primary school, my whole world was kind of falling
apart because I. I was ten years old and heavily bullied.
Inclusion was always a challenge. You were included and that's it.
You're included. But you kind of sit at the bottom
of the class.
S6 (02:03):
Brain injuries are funny because you can't see him, but
they're a real thing. There was never, ever a time
I got bogged down in my injuries, or how can
I get back to playing footy with my mates after
both accidents? That was always like, I just want to
get back to normal.
S5 (02:27):
On the days that I'm having a bad day on
the bike, like with my head, I always feel like
I've worked out the solution by the time I get home.
S4 (02:37):
I don't know if I'm having a relapse or if
it's just going to be a transient thing. And what
does this mean long term?
S7 (02:44):
It's invisible. Someone might look at her in the street
and say, oh, well, there's nothing wrong with you. I
don't see it.
S4 (02:50):
I want to be as capable, if not more capable
than I was.
S8 (02:56):
To make a Paralympic team, it's pretty special.
S5 (02:58):
What difference this sport has made to my life. Tandem
cycling offers me the opportunity to be included in a
sport that otherwise I wouldn't be able to compete in.
S4 (03:08):
It's so hard to do this, and it's actually so
rare to get the opportunity to be selected to a
Paralympic team. So I just feel really proud.
S5 (03:15):
Being like a kid born with a disability like you.
Look up to these people once a.
S4 (03:20):
Paralympian.
S5 (03:21):
Always.
S4 (03:21):
A Paralympian.
S9 (03:25):
It's a fragile time. As an athlete, you feel the
anticipation of the biggest event of your careers.
S10 (03:34):
Tandem crashes are not pretty.
S5 (03:37):
What happened to us was the literal worst thing that
could have possibly happened. Deep down, I had this sense
that maybe the Paralympic dream was over.
S6 (03:46):
I never let anything define me. How can we move forward?
How can we come out of this stronger?
S4 (03:55):
The universe will let you know when you need a change. Track.
Para cycling has been this enormous silver lining of a
pretty dark cloud. That is miss.
S2 (04:14):
So coming soon to a theater near you is a
new documentary. In fact, it previews on Wednesday the third.
So if you're listening to this on air, it's tonight. So, um,
we'll tell you at the end of the show where
you can get tickets. Otherwise, if you're coming to us
on a podcast, it's probably tomorrow night or, well, it's
been and gone. Joining me today is the amazing Emily Petricola,
(04:35):
who is a well known to many as a Paralympic
cyclist and gold medalist. How are you today? I'm good. Thanks, Sam.
How are you? I'm pretty good. What's it like to
be in a movie?
S11 (04:45):
It's pretty odd to watch yourself on screen and he
hear your own voice back. It's confronting enough when you're
just listening to a voicemail message, let alone then sitting
in a cinema full of people watching and listening to
yourself playback. But, you know, it's it was a pretty
special experience. And we were really lucky that Tristan and
Tim really just created a safe space for us to
(05:06):
be able to tell our stories.
S2 (05:07):
So they started out by filming in Paris. Um, were
they particularly noticeable or. I mean, where did you feel
comfortable just to act as per normal?
S11 (05:17):
I did in Paris, like when we were in the
we started a staging camp in Bordeaux and Tristan was there.
He was actually by himself. He was around the hotel
and would come to some training sessions and was really unobtrusive.
But to be honest, I was not in a great
way through the preparation. I was having an Ms. relapse actually,
throughout the preparation and throughout competition. So when I wasn't
(05:39):
training or at meals, I was pretty isolated in my room,
pretty much just trying to recover as much as possible
and try and keep my system as quiet as I
possibly could. So I actually felt almost guilty because I
felt like I hadn't been super welcoming to Tristan, but
we spent a little bit of time together at meal times,
and he came out to, I think, one road session
(05:59):
and was it a number of track sessions. So when
he was there it was really unobtrusive. Was never in
your face, or never made you feel like you were
being photographed or videoed throughout the whole thing. We could
we could get on with the business at hand. So
all of the interviews and stuff took place after we
got back.
S2 (06:16):
So those Pre-competition camps are strange beasts in themselves. I mean,
you've got this combination of trying to get a little
bit of extra training in, but also not pushing out
too much because you're saving yourself for the competition. Being
sick as well would have been, well, not ideal.
S11 (06:33):
It was far from ideal. It was really challenging to manage.
We knew though. Probably started eight weeks before Paris competition started. Uh,
the start of having my relapse. And so we were
managing from that point forward how how to get me
to the start line as uncompromised as I possibly could be.
We knew there was going to be some compromise, but
(06:53):
I'm really lucky that, you know, the doctors that were
working with me from the Vis and then Paralympics Australia
is the head doctor. Steve Say, right? I was on
the case from the second I landed in Bordeaux, and
so everyone was across where everything was at. And then
Alice McNamara, who was the vis doctor, but also the
para cycling team's doctor for Paris. She was in constant
(07:16):
communication with my neurologist to manage me as well as
we could through that, that period, it was really honestly
it was everyone sees the gold medal moment where, you know,
I'm ecstatic. But half the reason I'm so ecstatic half
is because my brother and one of my best mates
was there with their kids, but the other half was
just the fact that I'd been able to achieve something
when I really wasn't even sure what was going to
(07:38):
happen with me. You know, on the day.
S2 (07:40):
I suspect that knowing that at least somebody had your
back as far as all that goes, meant that maybe
you couldn't necessarily control things, but somebody else had some
degree of control over what was going on.
S11 (07:51):
Yeah, I don't think any of us had any control
over it. But what I knew for sure is that
the doctors, as well as the physios, were working really
hard to make sure I could get to the start line.
So I just had to put my trust in faith
in them that everything would work out the way it
needed to, and anything. We were doing everything we could,
and I just had to trust that my body had
(08:12):
done enough in the lead in that whatever performance we
put out would would get me the result. And luckily
for all of us, it did.
S2 (08:19):
So some of us have been born into the world
of disability. You, um.
S11 (08:24):
Acquired.
S2 (08:24):
Acquired. That's a good word. Good word? Yes. You acquired M.S.? Um,
did you know much about, um, disability or the Paralympic
movement prior to that?
S11 (08:33):
Not much at all, to be honest. When it was
actually a friend of mine who was an Olympic rower,
he was the one who suggested I think about Paralympics. Uh,
and I'd been sick for seven years at that point.
So when he said it, I sort of started laughing
because he knew the way that my body worked, and
he could see the way that I moved and that
it wasn't regular, and that I struggled with certain movements
(08:55):
and certain things in life. And so when he suggests
I'm off because I didn't think it was for anyone
that had my sort of problem. I think it was
really only for amputees, visually impaired or spinal cord injury athletes.
And he but he knew Carol cook, who had M.S.,
and she'd gone to the previous games and won a
gold medal. So he put me in contact with her,
(09:17):
and she talked me through what classification was and the
breadth of what classification looks at and what the competition
actually covers. So I was like, okay, I'll go and
see if I can be classified. And I was classified
as a C4 cyclist.
S2 (09:31):
The functional classification system has a lot is a is
a great old thing. It's been around now for nearly
30 years. And yes, it is a good catchall.
S11 (09:40):
Yeah, it is like I think the beautiful thing about
the Paralympics is that, yeah, you have the whole spectrum
of disability covered. You know, I think that that's it's
not easy to do. And you know, there's always controversy
around classification, but it's it's a flawed system. But it's
it is a system and it does allow people with
disability to compete in the most fair way possible. In
(10:03):
the biggest event in the in the, you know, in
the world. So I feel I feel incredibly lucky to
be a part of it, despite the fact that I
have to have had this awful disease that pretty much
each year gets worse. You know, my ability gets worse
every year and my disability gets bigger. So, you know,
it is such a silver lining for me to to
(10:24):
be able to focus on something super positive in terms
of what I can do as opposed to the things
I am not able to do anymore.
S2 (10:32):
Travelling overseas for your country and representing your country is
its own reward in itself, isn't it? I mean, it
is just something that you sort of sit there and
you think no one else is actually doing this, or
no one else can do this.
S11 (10:43):
Totally. And it's not because the competition's any easier or
any lesser. It's, you know, you still having to commit
the same amount of time and energy to training. It's
just you've got some bigger things to work around and
your average able bodied person. So it's a real gift.
Like I feel really privileged to be able to do it,
(11:04):
but I also work really hard for the opportunity. So
it's one of these things people are like, you're so lucky.
You're so lucky. I'm like, there's a there's not a
lot of luck involved in a like, let me tell you,
most of it's just hard work and sacrifice.
S2 (11:17):
I'm going to tell you a secret as a retired
athlete is there's an awful lot of luck in it
as well. Um, anyway, but I'm going to ask you
a slightly cheeky question. As a former distance runner myself,
why cycling?
S11 (11:29):
It's actually the only sport I can I can do.
I was a rower when I was younger and I
can't physically do anything else. I can't run anymore because
my legs and my feet, I can't lift because my
other bookmark, the chain at the top of my body,
is also compromised. Now, like my arms and my hands
don't work properly. So it really only left one thing
(11:50):
which was cycling. It was the only thing that I
could do when everything was going pear shaped. So that's
how that happened. And because I was able to. You know,
as a rower, the physiology systems are pretty much the
same across rowing and cycling. I was the engine was
already there. It was just it was in hot, it
was hibernating. So it just needed to be re-activated. And
that's why I've been able to be successful.
S2 (12:10):
I think having watched you as as a cyclist, I
doesn't show that it's the only thing you can actually do. Um,
everything seems to do what it should do. Well, the
big question that they, um, producers seem to ask throughout the, um, movie,
and that's what they're sort of, um, premiere thing. That's
what they wanted to do was why do you ride.
S11 (12:27):
As I said, like it's it's the only physical thing
that I can do consistently, um, anymore. And so that
was that's the primary reason. Um, but also like, it
helps with my condition. It sort of I've got secondary
progressive Ms.. Now, and one of the main treatment options
or suggestions from my neurologist is to exercise. And because
(12:49):
this is the only exercise I can do, that's why
I'm on the bike. But the reason why I compete
at the highest level is really because I'm just trying
to be the best that I can be with what
I've still got. So I don't know if it's or okay.
Sometimes I question whether I should be doing it as
much as I am, but my neurologist assures me that
I'm not doing myself any damage and is really encouraging
(13:09):
around what it is that I'm trying to do. So
I'll believe him for as long as it suits me.
And then when the time comes, which is not too
far away, I don't think I'll just go back to
being a social cyclist rather than a high end elite athlete.
S2 (13:24):
I used to think when I was running up hills
all the time, that I should have just picked golf instead.
What is and I'm saying this as a again, as
someone who's been through this, what is the coolest thing
about actually being an elite athlete?
S11 (13:38):
I think it's the opportunity to represent your country and
to travel the world doing it. I think you meet,
you know, a whole lot of really interesting people, but
you get to have these incredible experiences along the way.
And I think because I've came to this sport when
I was older. Um, you know, I was 35 when
I first got on the bike and started racing. And then,
(13:58):
you know, it was a few years before I made
my first national team. You really appreciate what the opportunity
gives as a whole experience. It's not just like it's
amazing to be able to go and ride your bike
and race and win win medals, and I'm competitive, so
I like to win, but it's not the main reason
that I do it. The main reason I'm doing it
is to show myself what I can do every day,
(14:20):
but also to then be able to, you know, I
met my partner through the team like it's really opened
up this whole other world. But yeah, it's different, I
think for para. Well, it is for me as someone
with an acquired disability. But, you know, I feel like
so much gratitude around the opportunities that I'm given.
S2 (14:37):
So maybe we can talk a little bit about what
your role is now the South Australian Sports Institute. So, um,
what do you do there apart from train?
S11 (14:44):
Yes, I'm a para unit lead here. So what we
are this year or 12 months ago, almost to the day. Uh,
the power units were, uh, or the power unit was born.
I guess the federal government gave a huge amount of
money for the first time in a really long time
(15:05):
to para sport and the whole system access to and
remove barriers into para sport and the elite levels of
para sport so that we can improve our performances with
Brisbane 32, um, as the ultimate outcome. So for us,
we're at the moment, we're searching for the next generation
of superstars from South Australia, the Paralympic superstars. So we
(15:27):
run programs, um, each term there are eight week programs
for anyone with a disability looking to get into para sport.
They can come and sign up for one of our
programs over the eight weeks. They're exposed to 14 different sports,
and we can help them work out which sport will
work best for their impairment. So there's a lot of
opportunity just in the hope that we can keep finding
(15:48):
Running or like connect people to sport as it is
the first, most fundamental reason that we're here and then
hopefully find some talent to accelerate into the high performance system.
S2 (15:59):
And there are people like you all around Australia because
we are national. And so if you are listening and
you want to give a sport a go, whether it
be cycling or track or swimming or anything, then contact
your local power unit at your institute or sport or academy.
So what is next for you? You sort of said
you're sort of, um, keeping on going while you can
keep on going, but in the very near future, what's
(16:21):
next for you?
S11 (16:21):
Oh, good road nationals in January. I think I'm going
to race there next year. There'll be a couple of, uh,
road World Cups and hopefully road world Championships and track
World Championships. And with the my I've committed now through
to LA if I make it that far. So that's
that's pretty much where we're what we're aiming for. We'll
see where we get to with it.
S2 (16:42):
Well, Emily Petricola, thank you so much for joining us.
S11 (16:44):
Thanks so much.
S1 (16:48):
This is Studio One with Lizzy and Sam on Vision
Australia Radio.
S2 (16:55):
So welcome, Timothy and Tristan.
S12 (16:59):
Hey, Sam, how's it going? Really good. Thanks for having us.
S2 (17:01):
So I'm looking out the window right now. It's a
a really dull, cloudy, um, day here in Adelaide. How
would you describe if you looked out the window now,
where you are?
S12 (17:13):
I'd say it's scorching hot. Um, it's, uh, pretty sunny and, uh,
a complete contrast to where we were yesterday, which was
12 degrees and cloudy in Melbourne.
S2 (17:23):
Oh, the flashy showbiz lifestyle. I know all about it. Haha. So, um,
you guys are. You might be said that you really
have a, like, a, um, a media orientation as far
as your family goes.
S12 (17:38):
Yeah. So, um, I guess at least from my parts,
I've first developed an interest in photography when I was
quite young, my grandmother, my grandmother was a prize winning photographer.
So I think I was playing with cameras from about
the age of five. And I started to develop an
(17:59):
interest there. But we grew up with a father who's
a graphic artist as well. Our uncle is a painter. Uh,
mum's into a writing surrounded by creative people in our family. And, um,
I'm jumping in here. This is Tristan. Now, my mum
always gets mixed up. Mixed up. So sometimes can't tell
the difference between our voices. So that was Tim just
(18:20):
saying all of that. But, um, I've always, um, you know,
growing up, uh, Tim's my big brother, and he started
getting into animation, um, in university. So while I was
still in high school, that was a big, um, big
sort of inspiration and influence for me as well. So
I sort of, um, wanted to follow suit with that. And, um,
we've always wanted to do films together.
S2 (18:41):
So, yeah. Talking of films. So you might say that
this film is, um, 25 or 24.5 years in the making,
as it were.
S12 (18:48):
Very much so. Yeah. Look, uh, 25 years ago, Tim
and I both went to the Paralympic Games in Sydney 2000, and, um. Geez,
I was about 15 years old at the time, and, um,
not a very happy person. I was, um, quite depressed. Um,
you know, I'd gone through, um, probably about 2 or
(19:09):
3 years worth of quite severe cystic acne. So I
was on, uh, particular medication, which I'm fairly sure is
banned now. In fact, both of us were on that medication,
aren't we? Unfortunately, yes. And one of the big side
effects of that medication was depression as well. So it
was a bit of a double whammy. So we went yeah,
we went to the Paralympic Games. And it was such
a such a huge inspiration to see athletes from all
(19:31):
around the world, um, come and achieve amazing results despite
their disabilities. So yeah, that was that was a really
big inspirational moment for us and just a beacon of
hope as well in a in a dark time. So
I'd say it's exactly what we needed at that moment
in our life. Just a little bit beacon of hope. Yeah.
S2 (19:48):
Ah, yes. Well, I was actually at those games, too.
I was on the other side of the fence, however, um, doing, uh,
track and field.
S13 (19:54):
Oh, wow.
S2 (19:57):
A lot of people who have not had experience with
the disability community will have their own expectations and be
surprised on, on certain things. So we'll start with Sydney 2000.
Was there anything that really surprised you as far as
that went?
S12 (20:10):
I think, um, I mean, coming from at that time,
you know, we, we, I guess we went to the
Olympics first and then going to the Paralympics, I don't know,
I remember Tim and I enjoying the Paralympics so much
more and just seeing, you know, and thinking, wow, geez,
what are the there must be some amazing stories behind
(20:31):
getting to this point. You know, I know and not to,
you know, poo poo any, uh, able, able bodied athlete.
But you know, the para athletes obviously have to deal
with so much more and challenges on the way up
to this point of being an athlete. And so seeing
that was, yeah, pretty amazing. And all the different types
of sports that, um, you know, you could experience as well.
(20:53):
It was quite interesting.
S13 (20:55):
I think something that's uh, I felt at the time
and definitely has been reinforced, uh, during our experience of
working with them now as well. Gordon said something quite
profound to me. Uh, a few weeks ago at one
of the screenings, he mentioned he likes to think of
them as athletes with a disability rather than disabled athletes. Um, and, uh,
(21:17):
I really felt that at the time when I saw
the Sydney 2000 Paralympics and working with them now as
well really feels that way. These are incredible athletes, uh,
achieving things at the same level as the Olympians, despite
what they've been through. And I think that's truly the
amazing story here.
S2 (21:35):
Indeed. So we'll talk about the movie now a bit more.
So So you're, um, concentrating mainly on three different athletes,
but there are, of course, a few other people that
sort of will come through because, well, it's a documentary.
S12 (21:47):
Um.
S2 (21:49):
So maybe tell us a little bit about the three
people you're where you're concentrating on.
S12 (21:53):
So the three main, main athletes that we chose to
focus on that you have, um, Emily Petricola, who was, um,
diagnosed at age 27 with, uh, M.S. and went through
quite a period of depression there before, um, before moving
through that and discovering cycling. We also have, uh, Cory Boddington, who, um, experienced, um,
(22:18):
quite a few traumatic accidents in his in his youth,
which resulted in a brain injury and affecting effects to
his right side. And then, um, finally, we have, uh,
Kane Paris, who was born with albinism and as a result,
has grown up with low vision. So we have, uh, Yeah.
There are three main, uh, focus. And then of course
(22:41):
we have, um, the rest of the Paris team as well,
that sort of feature in different ways in there and
cover off different sort of themes that we wanted to explore,
such as mental health and, um, and those sorts of things.
S2 (22:52):
So where and when did you shoot all of the footage?
S12 (22:55):
We started with, um, uh, working in Paris. So, um,
we went across to, um, to be with the team
in Bordeaux, which was there, uh, what's called their staging
camp lead up to the Paralympics. So that was, um, about, uh, August, uh,
last year, 2024. And, um, we wanted to have a
(23:17):
small footprint there. We didn't want to do any interviews.
We just wanted to sort of get to know them,
get some footage, and make sure we, you know, covered
things like them going to and from events, those sorts
of things, and really just get to build that rapport
so that, um, when we came back, we sort of
worked backwards. And then, um, Tim and I, uh, were
(23:37):
filming all around Australia because obviously the team is dotted
all around Australia, so we got to fly all around
the country and visit them all in their different states and, um,
shoot different, um, interviews and other bits and pieces as well.
S2 (23:51):
Did you catch any of the Paralympics themselves or did you, um,
do the sensible thing and shoot off home again? Um,
before it all got went insane?
S12 (23:58):
Well, no, we were I so as I say, we
were there for, um, for the Paralympics, but we didn't
actually get to go into any of the events. Um, so, uh,
you know, to be able to do that, you need
to have a media pass from about, you know, 15
years ago. And yeah, it's quite, quite hard to get that. And,
and it was quite a, quite a short turnaround getting
this project up. So um, but working with Paralympics Australia
(24:20):
and Oz Cycling, we were able to get access to
the team in their hotel, um, during the track track
stage of the, the games. So it was uh, that's
where we were able to capture all that footage of
of them coming, uh, coming and going and Preparing for
for their events.
S2 (24:36):
Did you get any inkling of, say, village life then? Um,
because one of the big things of actually going to
a Paralympics is the lifestyle. It's that, you know that
for ten days or so, you're in a completely different world.
S13 (24:49):
Unfortunately, we.
S12 (24:51):
Didn't, um, so I wasn't able to get any access
to the village. But the first week of the of
the games, which was the track, uh, track part of
it the second week is the road part. For the
track part, they were actually staying outside of Paris at
a different hotel, which was I was able to get access, but, uh, no, unfortunately,
we didn't get to experience any of the any of
(25:11):
the village life.
S13 (25:13):
Or the shenanigans that take place there, but we did.
S12 (25:16):
Some of it.
S2 (25:18):
So, uh, what possessed you guys to, um, pick a
sport like cycling and not something more civilized? Like, I
don't know, middle distance running?
S12 (25:24):
Well, so I just. And I've been working for, um,
a company called Ara for the last ten years and, um,
doing all their commercials or their, um, video and photography.
And Ara is, uh, a big supporter of sponsor of
the Australian cycling team. So, uh, the executive producer, Edward Fetterman,
(25:47):
he's a big, um, keen supporter of the arts and literature. And, um,
him and I have been talking for years about, um,
you know, doing a film or a documentary. So this,
this opportunity came around when he sort of asked me, hey,
is there a way that we can help, um, help
support the Australian cycling team? And of course, my mind,
you know, flew back 25 years to, you know, being
(26:07):
at the Paralympics, Paralympic Games in Sydney with Tim. And so, um,
I thought, geez, I don't know much about cycling. Uh,
much at all. So, um, but, hey, um, that's a
good way to learn. So I rang up Tim and said, hey,
do you want to co-write and co-produce with me? And
what did you what did you say?
S13 (26:25):
Um, well, I didn't know anything about cycling either. And
in fact, um, the last time I was on a bike,
I was 15 years old and significantly broke my leg.
So yeah, that was the end of that.
S2 (26:38):
So. So you didn't get back on the horse that
bucked you off?
S13 (26:40):
No, no, but I took up skiing many years later,
much to the confusion of my family. And I have
probably broken every other bone in my body since then, so, um,
probably should get back on a bike now, because, uh,
what's there to lose? Right?
S2 (26:53):
Just your dignity, really. But, um, you know, that's just
just the way it goes. So when we do a
project and whether it's whether it's a half hour radio
show or a, um, a cinematic documentary, we have a
picture of where we want things to go and what
we want things to do. And it usually doesn't work
out that way. Was there any big surprises that came
(27:14):
along that you're going, oh, I wouldn't have thought that
would have happened.
S13 (27:17):
I think, uh, this is Timothy here. Uh, I think
we kind of we went into this project with a, uh,
foundation of what we wanted to achieve, but we had
to go into it with an open mind, knowing that
as we discovered these athletes stories, that the story would
shape around that, obviously. So we had to be open
(27:40):
to seeing where that went and, uh, see what what
stories fit within the movie that we want to make. And, uh,
also be able to react to, to what they were
willing to talk about as well. So I guess the
we went into the film with a very basic question
of why do they write? We just kept asking ourselves
that and asking them, why do you write? Why have
(28:02):
you committed your whole life to this, this passion? And
I think I feel fairly confident we managed to answer
that question with this movie. And that became a big
story about, uh, the the mental health benefits of, of them, uh,
passionate about this and the community they're surrounded by that
just really supports them in such a great way. Um, but, uh,
(28:25):
how that story was told definitely evolved over the film.
You quite often hear filmmakers say that a movie is
made three times, once in the writing's second time when
you're shooting it, and third time in the edit. Uh,
that definitely was the case for this film. It definitely
grew as it went along and, uh, we adapted to
to what was surrounded us.
S2 (28:45):
So the film is coming out, um, on the 3rd
of December and literally coming out everywhere. I've had a
bit of a look around, uh, there. So if anyone
wants to, um, is curious now and wants to go
and see it, what would they do?
S13 (29:00):
Well, um, it's available to watch, uh, either through Village
Cinemas or Event Cinemas, uh, the two big chains that
are following at the moment. But we've also got some
independents that have picked it up here and there as well.
So I think the best thing to do is to
look at your local cinema and look for changing track and, um, it's, uh,
it should be showing somewhere near you on the 3rd
of December. And you could.
S12 (29:20):
Also jump on our website, which is changing track. Com
and uh, put, you know, if you need to put
a forward slash and then put tickets and, um, we
have everything listed on there as well. If you need
to have a quick link to to, you know, find
the nearest one in your state.
S2 (29:35):
Now a lot of our listeners here are blind or
visually impaired. So the big um, bugbear is audio description.
Will any of will any of this be audio described.
S13 (29:44):
So we're quite proud of that side of this film.
When we went into it, we decided that we wanted
to make a film that was equally enjoyable to somebody
that couldn't actually, uh, get the full experience from, from
the visual side of things. So we put a lot
of work into, uh, working with our composer, Anthony Lamarr,
(30:05):
who produced an absolutely wonderful music score for this film.
We worked with Rumble Studios to produce an incredible soundscape
that happens with it as well. So there are some
scenes in the film where we focused on the concept
of what we call flow state, which is that moment
when somebody is just in the zone, they're in their moment,
they're just on their bike and everything's, Things are going
(30:25):
the way they want to go. We really want the
audience to feel that. And for somebody that can't, uh,
isn't able to, uh, experience the visual side of it.
We wanted to enjoy it from an audio perspective as well. And, uh, finally,
what we also did was we produced, uh, an incredible
audio descriptive track for this film as well, uh, which
is available in the cinemas, um, at request, with the
(30:47):
cinema chain.
S2 (30:48):
So filmmaking is a sort of a process. Was there
anything that you left on the cutting room floor that
you thought that just wouldn't fit in, but were thought,
that's a shame.
S13 (30:58):
Uh, let's.
S12 (31:00):
Look to take. So we had I think it was
about 140 hours worth of footage, um, and 50 hours
of that was interviews. And, you know, although as Tim
was talking about before we, we we did, you know,
write specifically, um, quite a lot of stuff. And that
involved writing questions that, you know, um, covered parts that
(31:20):
we wanted to talk about. You know, you could you
could talk to these athletes for 10 or 15 hours
if you wanted to, but, you know, without, you know,
coming back with hundreds of hours of footage and then
need to plow through that. There's so much there that,
you know, we would have loved to include in there. But,
you know, there were some tough decisions, obviously, we had
to make. And, you know, again, as Tim was saying,
we just had to keep coming back and asking ourselves
(31:42):
that question about the why and what, you know, what's
the story we're trying to tell here.
S2 (31:46):
So before we go, um, with Sydney, 2000 kind of
changed your perspective as, uh, young people has, um, making
this film and dealing with, uh, people with disability and
athletes with a disability change any of your outlook or
anything like that now?
S13 (32:01):
Oh, absolutely. I think, um, working with these people has
been so inspiring from our personal perspective as well, just, uh,
working with them through the whole production process. They've just
been so incredibly supportive. Uh, you keep hearing them talking
about the community that supports them and what they love.
And we really felt, uh, through this that they were
(32:23):
very supportive of our process. Um, we would constantly we
had these little chat groups going with them, and they
were constantly checking in on us, seeing how we're going,
making sure we're getting enough sleep. And, uh, I'd say
that was quite inspiring to me, but also just yeah,
these people are such incredible athletes at what they do.
And it's it's truly remarkable. You just it doesn't come
(32:46):
into your mind. Anything else really, other than just the
there's Corey riding up and down that mountain all day
just so I can get the right shot. And, uh,
he just he's an absolute machine.
S12 (32:57):
And I think, you know, it's it's. Yeah, we've all
been we've become quite close and especially over this last
month as well as with a lot of us been
on the road together, um, you know, the, the amnion
and chorion and, um, Keen's pilot rider, Luke have all
been sort of swapping out in and out as we
sort of go across the last month making our way
around Australia, premiering the film in different states. And we've,
(33:20):
you know, we've all become quite close in these last
few days especially, have been quite emotional as we've all been,
you know, slowly coming to the end of being together
and getting up and talking about the film together and
sharing those experiences.
S2 (33:32):
So to round things off, why should you go and
see this movie?
S13 (33:36):
I'd say from my perspective it reaches into, uh, the
the methods I use to get out of some dark
times in my life. Um, when I was at a
at a rough point, I found that by being passionate
about something and finding a community that I could get
right into, uh, was basically my my path out of
(33:58):
that dark time. And I think that's what these guys
have done as well. They found a community that supports
them and something that they can be passionate about and
make their life about, and has helped them get through
a difficult time. And I think this film tells that
story for anybody that's going through some kind of darkness
or a difficult time, there is a way out. And, um,
(34:18):
you just need to find that thing you can be
passionate about and to surround yourself with the right kind
of people. As, uh, Emily and Corey said in the film, and, uh,
I think that's why people should see this, it's a
very inspiring film filled with hope. At least that's what
we hope it gives.
S12 (34:33):
You know, often with films we go, oh, okay. December
3rd is the first date, and it's usually playing for
a few weeks. Well, which is an independent documentary. December
3rd is literally the date it's playing. And after that
it's not it's not playing again. So unless, you know,
we're lucky enough to secure, you know, another cinema or two,
but not on this scale.
S13 (34:51):
I think as well, um, it's been quite an uphill
battle recently in the film industry to convince the public
to go to the cinema.
S2 (34:57):
Yeah.
S13 (34:58):
Everybody seems to we keep getting asked the question over
and over again. Oh, so what are you going to
do with this? Uh, is it going to get released
on streaming? And, um, it's it's very important that people
continue to go to the cinema. That is the gauge
of success of a film still is, is how how
it does at the cinema and, uh, everything that happens
(35:18):
after this moment, uh, relies on how it does in,
in the cinema on December 3rd. So, uh, we're really
pushing hard for December 3rd and trying to convince people
that's when you want to see it. It's made for
the big screen. Uh, and it's got a beautiful surround
sound music score as well. So even if people aren't
able to appreciate the full extent of the visual side
(35:40):
of it, we always both look at each other in
the cinema. When it comes up to the rainforest section
in the film, it's all the bellbirds are all around you.
It's just such a saturating experience to see it at
the cinema rather than on your mobile phone.
S2 (35:53):
Well, thank you guys. Um, and uh. Yeah, go go
go see it. Great.
S12 (35:58):
Thanks, Sam.
S2 (35:58):
Sam, that's a wrap for this week. A big thank
you to Emily, Tim and Tristan.
S3 (36:02):
And of course, thanks to you for listening. That includes
our listeners on the Reading Radio Network. You can find
a podcast of this program, plus some extra content by
going to Apple, Spotify, Google, or your favorite podcast platform.
S2 (36:16):
Next week we're back to our scheduled program. How many
times have you been asked how much can you see?
What does it say about the human condition that we
get asked this question on a regular basis?
S3 (36:26):
And indeed that no one seems to have a decent answer.
S2 (36:29):
But between now and then, please do get in touch
with the show. Whether you have experience of any of
the issues covered on this week's episode of Studio One,
or if you think there is something we should be
talking about. You never know. Your story and insight may
help somebody else who is dealing with something similar.
S3 (36:43):
You can contact us via email at studio one, at
that's studio number one at Vision Australia. Or of course,
you can find us on Facebook or Instagram by searching
for VA Radio Network.
S1 (36:58):
Studio one was produced in the Adelaide studios of Vision
Australia Radio. This show was made possible with the help
of the Community Broadcasting Foundation. Find out more at.
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