The annual Coast Film & Music Festival is set to host a special screening of the classic surf film “Big Wednesday” this Saturday, featuring a reunion of many who brought the movie to life. Laguna Beach filmmaker Greg MacGillivray, who co-directed the documentary “Hollywood Don’t Surf,” confirmed his attendance and will be joined by actors William Katt, Rick Dano, and Robert Englund. Screenwriter Dennis Aaberg and surfing stunt doubles Ian Cairns and Peter Townend are also scheduled to participate in a panel discussion regarding the film and the broader topic of making Hollywood sports films.
MacGillivray stated that the idea for the “Big Wednesday” screening emerged after his own documentary, “Hollywood Don’t Surf,” was scheduled for the festival. The event organizers at the Coast Film Festival suggested a “twin pairing” of films, according to MacGillivray, who noted, “It’s been shown a lot before but we decided this year was a good time to do it again so it’ll be fun.” He anticipates the event will be a “fun get-together” for those involved and attending.
MacGillivray dedicated months to working on the intricate surf scenes for “Big Wednesday.” Despite being a box office flop upon its release in 1978, the film later achieved cult status as a significant hit on VHS during the home video boom, even “setting records,” he said. The movie’s appeal has spread globally, with MacGillivray particularly noting its popularity among fans in Italy, who, despite having limited surf, have established festivals centered around “Big Wednesday.”
The film captures a unique era, with MacGillivray describing the early 1960s in California as a poignant and interesting time. He characterized surfing during that period as a sort of rebellious sport that attracted many, explaining that while surfers did not always have a positive reputation, it was considered a hip kind of thing to do and held importance for those who remembered those times. MacGillivray speculated that the film’s focus on the Vietnam War and its impact on the characters might have discouraged audiences in the late 1970s, as it was “something we wanted to forget about.”
The surfing sequences, which MacGillivray helped shoot, remain memorable, largely due to director John Milius’s commitment to authenticity. Milius, a surfer himself who drew from his own experiences for the story, was “driven to get it done right,” MacGillivray said. Production for these scenes involved extensive shooting in various locations, including El Salvador, several weeks at Hollister Ranch in Santa Barbara, and eight consecutive weeks in Hawaii. MacGillivray emphasized the substantial investment, stating, “We really poured money and time in getting the surfing sequences correct and really spectacular.” He recalled that even when the film faced mixed critical reviews upon its initial release, the surfing scenes consistently garnered praise, with viewers loving “the power of it all.” Even now, MacGillivray added, “the sequences hold together well,” despite the evolution of surfing with modern, lighter boards. He expressed his satisfaction that sufficient funds were allocated to ensure the quality of the surf scenes.