Little did Weiley know his film would go unseen for over 40 years and become itself ingrained in Sydney Opera House folklore. Autopsy was both scathing and deeply honest, echoing the discontent of the Australian public, while offering insider perspectives from big players like Utzon's architect successor Peter Hall and design engineer Ove Arup. In one of the film’s more explosive revelations, Arup, in what Doust describes as “very philosophical mood”, briefly considers whether he should have also quit following Utzon’s resignation – “he had a real Hamlet moment”.
“He felt very loyal to Utzon, and the principles upon which Utzon was resigning. If you become an aficionado of the Opera House Project story, then that opens up a whole number of pathways for you,” says Doust.
Soon after filming was complete, one of Arup's colleagues, Jack Zunz, worked with the BBC's Head of Music John Culshaw on a theatre project in rural England. Weiley speculates that this project could have been the beginning of the end for the film, as Arup's reservations reached the BBC firsthand.
“I tried this on Dave [Attenborough] and he thought it was possibly true: that Culshaw and Jack had talked it over, and Jack had convinced Culshaw that it really would be better if this thing didn’t exist. He didn’t want any horrible memories.
“So that’s what I think: that John Culshaw, who was in a roundabout way my boss, had started to order its destruction,” explains Weiley, reiterating that this a yet unproven theory.