At the time Paul was in Sydney I was also there for a year doing Five Mile Creek, a TV series. We met weekly for meals and to help his back and odd injures. We would speak of how to relate to an audience, what kind of feelings we should have for them and what we wanted to do for them.

I would also try to talk him out of riding a big bike such as his Suzuki 6SRX 1100!

Paul wanted to show life through dance, to use it to educate and entertain. He was thinking as a choreographer.

Graeme Murphy made him a principal, writing for him, developing dance for him.

Some Rooms, a brilliant piece of choreography by Graeme, showed that Paul was indeed a special dancer.

He toured the world with the Sydney Dance Company. Not only was he a top dancer, but his ability to see life and transfer it to the stage was emerging.

A coffee shop he frequented, called Reggio's, where he and the night people of Sydney's Darlinghurst converged, was brought to life on the stage in Cafe (and to TV by the ABC), and joint venture between him and Kim Walker. Paul also created Dancing with I, Waiting, and Edgeing among a dozen ballets he choreographed.

He also helped create some of the dance routines in Strictly Ballroom.

Since the publicity machine got into full swing behind this film, we've seen Paul as a nappy-changing, bike-riding, roller-blading, beer-brewing family man--the father of two daughters and the husband of ex-Sydney Dance Company member Andrea Toy, who joins him as a director of Australian Choreographic Ensemble (ACE), Paul's dance company.

It's all true. But while Paul may be the best thing since sliced bread or since Gibson-Travolta-Swayze, one thing for sure is--the best is yet to come.

Why do I say that? Because there is so much more to this man. I ought to know. I once was Gus Mercurio. Now, I'm Paul's father.