He is also on the fence about choices in his professional life, something that is accentuated when he meets a childhood friend who has become a successful TV producer in England.
[3] A Two Thousand Weeks ‘photo novel’,[6] illustrated with stills by the film's director of photography, Robin Copping, and official stills photographer Mark Strizic who also designed the book, was published by Sun Books as a movie tie-in in late 1968, alongside a solo jazz album by Don Burrows, commissioned for the movie score.
Doubtless Colin Bennett would try to justify his attitude by saying that he judges every film by the same inviolable standard of excellence, and that in the light of this rigid philosophy, 2,000 Weeks was found wanting.
But his attitude was unbearable righteous and helped create a climate in which good film could be destroyed.
[10] Paul Byrnes from the NFSA comments: "2000 Weeks was one of the first features of the modern era in Australian cinema, after decades in which almost the only productions were British and American films in search of exotic locales.
There was an intense desire amongst a few people to restart an Australian film industry, and Burstall was one of the leaders.
The box office was poor and Burstall became determined to make films for a wide commercial audience, rather than an art-house few.