Edwin James Lynch

Films in Australia are mostly financed by the government. You need a distributor and around 40% of your budget sourced from the private sector before you can make a $2m+ feature film here. In an effort to keep the riff-raff out, the FFC have added another requirement to their list - a very high quality, developed screenplay. To this end, they employ a team of readers (usually writers) to vet scripts which ultimately land on the desks of two assessors. In other words - your screenplay had better be tight . . . and interesting. But do you think the private sector know any of this? Do the Mums and Dads of Australia know that by investing in Australia's film industry, they can write off 100% of their tax bill under the Taxation Department's 10BA tax-incentive scheme? No. But lawyers do and it's probably why the film industry is suffused with them. That and intellectual property protection . As you know, I had someone approach me recently with a whole lot of cash - like this l...

Phil Jang Kane (screenwriter), Carmello Musca (Producer) and myself (director) have a 20 minute meet-n-greet market briefing with the Film Finance Corporation and a major Oz film distributor this afternoon. Based on our synopsis, they will advise us of sales opportunities in today's marketplace. Should be interesting. We're going about things the traditional, Australian way. Which isn't a bad thing. The Australian way of raising feature film finance isn't a bad one. We have limited funds and fewer good scripts than the US (where everybody in LA is working on a feature screenplay). In Australia, screenplays are thoroughly scrutinised by industry professionals before they are even allowed to jump through a series of hoops. You also need private cash, a distributor and the FFC on board for budgets over about $2m. The system only allows scripts which have been thoroughly vetted to make it to the screen. And for writers, it adds to their growing pile of rejection letters...

If you are getting paid to write - even if it's as little as $500 for a script - you are probably going to be working with a script producer or script editor - especially if it's a TV show with episodes. That's because - whoever is giving you the money - is being told to deliver a certain thing to the broadcaster and your script needs to bend like a reed, Grasshopper in an effort to make it consistent with other epoisodes. This is writing to house style . More often than not, the script editor (and sometimes the TV producer) will rewrite your piece wholesale. It's not a bad thing - but a lot of people don't know this going in and new writers get burnt (read hurt ). House style means to a writer pretty much the same thing as result-oriented direction means to a director. At some point, you are going to be told what to write. You are not going to be left to your own devices a you are when writing your feature film screenplay. If you're writing TV, you can b...

I just heard that A Stone Throw is a finalist in the Frankfurt Children's Film Festival (Germany). It seems that somewhere in Germany and India is an Edwin James Lynch fan-club. They've certainly bought films I've directed in the past. But there are just so many bloody filmmakers in the world today. I'm beginning to understand that AST ain't a crowd-pleaser. How could it be when it was ever-so-loosely based on Dostoyevsky's Crime and Punishment (set in a school). I guess it's a bit dark. In fact, pretty much everything I write with Phil (or by myself for that matter) is a bit dark or creepy. More good news (for us) is that Phil, Carmelo (producer) and I are having a casual meeting with Tait Brady (Feature Film Evaluation Manager, Film Finance Corporation ) and Ashley Luke (Vice President, Development & Acquisitions, Fortissimo Films ) to receive informal feedback on our feature film synopsis. Marx & Venus update I don't know who the success...

Here's another approach to writing your screenplay. The screenwriter's friend. Introducing the infamous Three by Five Card Index System . Wow! How can I get one? In my case - I made it. What it amounts to is this: Three 90cm x 40cm sheets of chipboard hinged together so that the whole thing stands like a concertina on a table or floor. Every 5cm or so down, I have drawing-pinned small cardboard hinges (triangles if you will) made from old file dividers. These become placeholders for your cards. A couple of bunches of 3 inch by 5 inch index cards (available in packs of 100 at any newsagency) and there you have it. A sure fire way to make your screenplay bubble to the top of the pile . . . Not. But it's a tool and writers need their tools. Cool. How does it work? As you can see - each act has three mini-acts in it (fitting in with Australian script theorist Linda Heys' Second Act Story ). Or rather - going one step further and suggesting that all three acts have a begi...

One gets to a point - in the second act - when one hits the blues . Phil and I fear it as we write. As we edge closer to the midpoint. The second act is doing a lot of stuff. It's more than 60 pages long. It's the new world and its midpoint . . . the belly of the beast . That's if you wanna quote the Syd Fields, Chris Voglers or the Bobby McKees of this world. We prefer not to at this stage. So far we haven't hit it. Maybe it's coming - maybe not - but we are treading very carefully (p55) as we go . . . Everything seems to be in order. Katy is having some very interesting moments of self-discovery. She is certainly finding herself. That's clear. But where will she go next? We wonder (we actually know because this is a 4th draft not a rough draft - but we wonder anyway). We've nearly finished our synopsis. 3 drafts of that so far. 5 and it will be ready to send. The AWG want synopses by Tuesday. Later . . .

The more one plods along, the more one understands that the gap between feature filmmaking and short film production is one gaping big canyon. A Stone Throw was finalist in an LA festival this month called Moondance . But that has little or no impact on the feature film we were writing last night. If it had won an award, it would make no difference to what we are doing right now (there is only now , people). I remember Australian filmmaker, Shirley Barret's Love Serenade (Two sisters will do anything to hook the right man) winning the Camera D'or at Cannes in 1996 . . . "Notably, the stuntman used in the final sequences died while shooting the scene, and this scene was retained for the finished product: consequently Barrett, distraught, did not make another film for four years, and then it was the major disappointment WALK THE TALK" ( leask81 review on IMDB) What a thing to happen - and then to make Walk the Talk years after. It must have been heart-breaking. G...

As a newbie, one may ask, "How do I get into the film industry here in Australia?" What do I have to do? Writing and organising a team of like-minded individuals towards the common goal of actually making a movie is being in the industry. All you do is write and put together submissions or proposals. Once you are writing - you are in the film industry . You don't need anybody else to tell you otherwise. Over 95% of your time will be spent writing scripts, auditioning for a gig or meeting with actors, producers and financiers. In the last two years, I have been lucky. I was actually on set, directing . . . for nearly two whole weeks! ( A Stone Throw and Streetsmartz ). The rest of my time was spent: Writing (I'm pleased to report . . . most wannabes talk about writing. Don't be a wannabe! ). Earning a living ( building websites ). Teaching others how to write, direct and build websites (at Curtin University). Meeting with producers and greater mortals who may ...

I'm writing with Phil. He's just popped out. We're planning our next screenplay. A traditional horror about a man who sees the error of his ways - just in time. The early draft of Beware the Stingray is so busy that we've managed to extricate three screenplays out of it. One of them - the short film, A Stone Throw - is doing the festival circuit as we speak. And as we write, more characters keep leaping out - threatening to muddy the waters of our existing screenplay. But we remain vigilant. As interesting as all our ideas are, only the story-oriented ideas should remain. Jot the others in a notepad, or do like we're doing and embark on a completely different screenplay. Why are you reading this? Stop it. Get on with your own screenplay. In this materialistic, cancer-ridden nuclear paranoid society - it seems to be the only reasonable thing to do. So - if you've come to Geoffrey because you've got a really good idea. Write it! I'll tell you this for n...

This is a picture of us writing. Notice how there's only one of us at the computer? I'm on a beanbag. Phil does the writing , and for those of you who know me well, I talk . I'm actually taking random photos with my new CanonA430 (I highly recommend it) while Phil taps away. Lately, we've been pleasantly surprised by our work. Twelve years on it looks like we have a worthy mani character (Katy) and a good, solid story. This is how we got to the screenplay on this particular rewrite: We used the Clare Dobbin Matrix to analyse the existing story We broke the story down into about 16 sequences, tracking our main character We titled each sequence (for main character) and made micro-notes on 3 x 5 cards We discussed the hell out of each sequence from the main character's story POV We attacked the screenplay scene by scene It's taken us about 3 weeks. That's 2 full days writing per week. It's nice to be able to say that. Feels like we've achieved someth...

Phil commented on that last piece. I forget that people actually read these things. I assumed you were all lazy and illiterate ;) Yes . . . as Phil says . . . we have taken time to write this screenplay. And it's depressing to think about it. Sometimes I feel like Marshall in Absolutely Fabulous . Marshall went to Hollywood 20 years ago to develop a screenplay with a studio. People in various episodes ask him how it's going. He usually has an actor attached, or a big producer, or an out-of-work director . . . No doubt Jennifer Saunders has met a few of these people . The industry is teaming with writers working on a screenplay. Until a screenplay becomes a film - it's only a blueprint - not considered an art form in itself. And yet it takes such a long time to write one. When people ask me what I do - I answer web designer . It's my knee-jerk, "pat" response. It's also less problematic and gets me more $work than if I say, "filmmaker". ...

The other day I saw a locally made feature, The Actress . It was really quite good - for what it was. But my heart sinks when I see a well-directed film with huge writing holes . Holes which are easy to fix if you give your screenplay time to brew . Directors are Stupider Than Writers It is common knowledge that directors, in the main, are stupider than writers - often led into projects ego first. But even the stupidest director could probably do well with a short course in screenwriting. Because if you can't read a feature film in the first place, how can you direct one? Sam Mendez and Alan Ball are a case in point. After the success of American Beauty , Alan went on to write the multi Emmy Award winning Six Feet Under . And Sam? Well . . . just have a listen to the audio commentary on Six Feet Under and you can hear what's driving Sam's engine. Interesting that the commentary is credited as Sam Mendez with Alan Ball. Writing is one way to remain humble. You get lousy...

A picture I did (of an artist) in Tuesday morning's art class. The best stress relief ever ! Drawing is like meditation. Not like Saturday. The kids I teach Saturday are in 2 groups. The 9-12 year olds The 15+ y.o. teenagers The differences in behaviour between these two groups is vast . There is no professional approach to acting at all for the younger, immature kids. It's completely a game. The director is merely a part of that. Things not to rehearse with 10 year olds When I say not rehearse , what I mean is - just roll the camera and go for a take. Rehearsing is never taken as seriously as a camera shot. On tape, with a tiny crew (ie. me on Saturdays) and with kids as my subject, I shoot all "rehearsals". Young kids get bored and soon wander off to the toilet - or to Mum - or to get a drink. Instead of rehearsing, just shoot whenever a child has to: hold hands, touch or hug another (unfamiliar) child do a fake fall or punch cry do anything t...

I've been working my guts out doing websites all week (day and night) and now I have to mark 50+ online student usability exercises. Ugh! I got a glimpse of my girlfriend this week. She lives really far away and - as I ride a CRX 1 Flat bar road bike - it takes me a good 2 hours to get there. Especially after riding from Como to teaching Saturday acting classes in Hammersley. I got to her place late and then had to leave at 5am to get to Freo on time - where my parents were celebrating their 4oth wedding anniversary. Hi Ma & Da. Congratulations! Now for the meat of this post. Read carefully: It's a nice ride. For every difficult hill, there's a downward slope. I top around 50kmh (peak at 60kmh) but try to cruise along at around 30kmh to conserve energy. You never know when you might need to sprint. I'm mostly on bike tracks - I don't like to ride on sand. My bike has no shocks, so my energy isn't wasted. I get to feel the ground. Whatever power I have go...

I just added a link to Taylor Media's website for Marx and Venus (I did the site). The SBS script deadline is March 31st, but, as I did her website and Sue Taylor is exec-producing the show (with Natalie Bell, Ian Booth and Francesca Strano line producing the 25 episodes) I felt it my duty to let everyone know that TM is looking for directors, DoPs and editors. My CV is in. Phew! But I'm thinking of submitting a cover letter. Or hopefully, explaining my particular during interview - and without trying to sound like I'm gonna break house-style . Writing with other people . . . Ooooh I've written two episodes of M&V so far - one with local writer, Richard Hyde and one all by myself . I want to write one with Phil Jeng Kane, but I want it to be his idea. I'm second credit on Richard's and I want the same credit on Phil's. Three scripts sounds reasonable and not too greedy - especially if I'm working with other people. "What? What kind of filmmake...

I'm tandem teaching an art class at Curtin Uni. Well, teachin g probably isn't the right word. Experiencing might be better. Each mini lesson I get to do what the students are doing. It's called Multimedia design 175 - Theory and Practice . A loosening up class designed for people who think they can't draw. Each week we do a different, really cool thing. Like the objects above. I drew these by feeling what was in a brown paper bag without actually seeing . Which was the point. I was quite surprised at how the drawings came out. In retrospect, it kind of confused me. We can see things without using our eyes. Filmmaking - The infamous and oft-ignored Axis of Action I was ranting the other day - as usual. There was an old movie on Channel 31 which was really bugging me. The camera kept flipping around the room. One moment we were high angle POV (point of view) the next low. It was jarring. But I noticed that it was still irritating even if the camera was only a few inch...

I ride a bicycle and this is what I see. When you ride a bicycle (as opposed to driving a car) the world changes . Your approach to life changes. My approach to filmmaking changes. The body becomes a metaphor, the road - life - each hill an obstacle. You are using your own power. You are thousands of years of human technology. You are losing fat, strengthening your muscles, heart, lungs, entire physical wellbeing.Problems dissolve. You de-stress. Coffee at Just Espresso , Como Coffee on the other hand freaks me out! It makes me anxious and very often I return home and do everything but work. I was having coffee with a friend (Rob) this morning and we were talking about our work lives. Comparatively, we are extremely lucky. We work when we want and do what we want. We're not answerable to anyone because we have clients - not bosses . Most people my age are paying mortgages and raising children - in jobs they don't particularly love. I don't feel the urge to do that and I...

Finally put up the podcast interview I did with Phil Jeng Kane (from the FTI) a week or so ago on the 9th Mumbai International Film Festival . The sound is a bit thin because I had to remove a slight buzz. Today I'm teaching 3 classes of students internet studies. I wanted to get these podcasts ready for them so they could see some of the technology working. I was surprised to find that a few friends of mine had no idea what a podcast is and fewer knew the meaning of BLOG!!! Well, guys, this is about all there is to a BLOG. You're reading it. It's an online, public diary. In response to Phil's comment . . . Yes, I know filmmaking is a team sport. 100 people worked on A Stone Throw (AST). Without them, or yourself, there would be nothing. Obviously. The writer, producer and sound designer overpowered me with an idea and I went with it. It's possible that 50 people may have approached me after the film with, "What were they saying in that long shot?" My last...

Yawn. It's 6am. Maggies are warbling. Crows are cawing. There was one thing that came back to me from several people. It's been bugging me all night. The same critique. And it has to do with thinking that the audience are dumb. For those of you who know the film, I'm talking about the scene where Cassidy confesses his crime to his Mum. Several people at the premiere, including one twelve year old boy, asked me why we got to hear the dialogue between Cassidy and Tess as he confesses his crime. They felt it interrupted the story and hindered their connection with the film (my interpretation). On the shoot day, Joshua Beechey was a bit nervous about Anna Brockway playing Tess - his mum. So I went with that. I got Joshua (Cassidy) to retell most of the story to her and finally confess based on what he remembered of the script . She would hug him and it would look awkward. It did. To actually hear this bit of dialogue was always going to be a bit iffy for me - but more importan...

The screening of A Stone Throw went well, I'm pleased to report. Really smoothly. We had 100 invitees and maybe the same number who came to see "Little Fish". Mum did the tickets and Dad opened the beer and wines - and helped me with the Coles platters. Mostly, everyone liked the film. The kids who were in it loved it (of course) and I was happy to see the odd tear being shed by one or two of the adult actors. How weird is that? They're obviously over the idea of seeing themselves onscreen. I don't think I'd have the objectivity if I was an actor - to actually enjoy the film I was in. Maybe only the best actors were crying - as self-consciousness and narcissism are the enemies of good performance (according to Stanislavski) . . . To me, the film looked good. It still feels a bit like a series of cuts, sounds and images, but it went over well. I didn't notice many of the mistakes and all had a great time. Sort of. Hosts never have much fun at parties. Nex...