We are the measure of all things. And the beauty of our creation,
of our art, is proportional to the beauty of ourselves, of our souls
– Jonas Mekas
Back in Australia, David Elfick looked at the rushes, and was convinced that this was going to be more than just another surf movie. Albert's experimental infra-red photography had earlier indicated that, but the Bali footage was sufficiently impressive to show the Australian Film Development Corporation. They realised the film's potential immediately, and invested $20,000 in the project, giving them a third share of the profits.
Their investment enabled Albert to travel to Hawaii where Terry Fitzgerald, who had been filmed in some early sequences in Australia, had just begun to master some of the tricky surf that makes Hawaii the Mecca for surfers from all over the world. Albert captured Terry coming to grips with the big waves of Hawaii, filming him in the classic surf spots of Sunset and the Banzai Pipeline. As well as Terry he was able to film the radical surfing of these spots by Barry Kanaiaupuni, Owl Chapman and Gerry Lopez. What he managed to convey was not merely their death-defying bravado in tackling the Pipeline, but also the rush of adrenalin they feel as all other considerations disappear and they lock in to the cosmic energy of the wave.
– Albie Thoms