Lorne Theatre, VIC (7 Jan 2014 - Tickets available at the box office)
Cinema Nova, VIC (w/c 1 Jan 2014)
Palace Bryon Bay, NSW (12 & 19 Jan 2014)
Margaret River Cultural Centre, WA (19 Jan 2014 - Tickets available at the box office)
Cape Mentelle Winery, WA (25 Jan 2014)
North Beach Surf Film Festival, WA (14 & 15 Feb 2014 - Tickets available at the box office)
Denmark Surf Club, WA (12 Apr 2014 - Tickets available at the box office)
George Revival, St Kilda, VIC (17 Jan 2014)
Ben & Jerry's Open Air, Bondi, NSW (19 Feb 2014 - Tickets available at the box office)
Wayne Lynch burst onto the Australian surfing scene in the 1960s and rode a wave like no one else. He opened up fresh possibilities with a radically new vertical style. He was a champion, a draft dodger, an outsider, a revolutionary, a messiah, an environmentalist, a victim, a wild man, a pauper and an enigma. He tested himself against the big waves and produced something beautiful and exhilarating and elegant in the process.
If you've ever surfed, or if you appreciate the sheer grace of a board rider racing down the face of a big wave, this biography of one of Australia's legends will make your heart beat that little bit faster and have you longing for the freedom, beauty and simplicity of a wave and a board.
Lynch was born and raised in the small coastal town of Lorne in Victoria, Australia, some 25 miles southwest of Bells Beach. Like many young Aussies of the time he was in the surf almost from infanthood, riding rubber inflatable mats at the age of six in the small, clean beach breaks of the area. Lorne, being more sheltered from weather than nearby Bells, didn't see quite as much swell, although its sand and rock bottom point break can produce some magical moments. Oddly enough, this remote, chilly arena -- most of Australia's cutting edge surfing of the time was being done in Sydney and Queensland, thousands of miles north -- would prove perfect for forming his vital, tube-oriented style
Dad Bill and mother May were strong though quiet supporters of his surfing. Bells locals can recall May driving a very small Wayne up to Bells Beach for the local competitions in 1964, Bill often being in the background at bigger events. "He was so far ahead it was amazing," reported local surf photographer Barrie Sutherland, who would shoot numerous images of a developing Lynch in the next decade.
Wayne won the Australian junior title four years running between 1967 and 1970. In this time his surfing underwent an extraordinary metamorphosis, as he engaged all his remarkable surfing talent with the task of drawing an entirely new set of lines on the wave -- a template for shortboard ripping that can still be seen in the best surfing of today. In Paul Witzig's movie, Evolution, released in 1969, Lynch, along with Ted Spencer and Nat Young, are captured at work on this massive leap forward in style, carving turns from the lip to the base and connecting them in combination as had nobody in surfing history. Wayne would recall the Evolution phase as one of frustration; he felt stymied by the boards available to him, and always wanted to do more. Yet he showed the way for surfers from Tom Carroll to Mark Occhilupo, particularly with his searing backside angles and extraordinary tube sense.
A successful competitor when he chose -- Lynch won the Sydney Surfabout contest, at the time the world's biggest pro event, in 1975, and was runner-up in 1978 -- he was better known for his love of surfing for its own sake. Not to coin a term, he was Soulful. He was the one Australian surfer of the period who gained complete acceptance from the Californian surf community, for whom soul was uppermost. Indeed, in his reticence and suspicion of public life, he was a forerunner of the ultimate Californian surf hero, Tom Curren. "Wayne Lynch's famous backhand re-entry!" Lynch once told Tracks magazine. "What a joke! I didn't consider it to be that good."
Lynch seemed also prey to bad luck at critical moments: on a visit to Bali in 1974, he was badly injured in a terrible motorbike accident, and fell into malaria during his recovery. And on his much-anticipated meeting with Pipeline in 1976, a wipe-out resulted in facial injuries. Yet -- perhaps because they could sense his deep commitment to the art of surfing, as well as the sport -- he remained a favourite of many grass-roots surfers worldwide, a popularity sealed by the late-'70s Jack McCoy documentary A Day In The Life Of Wayne Lynch. One famous scene from the documentary shows Wayne and Nat Young leaping from a cliff to tackle heavy rights alone deep in coldest Victoria, an act at dramatic odds with the urban showmanship of the early professional days.
A master craftsman in the world of surfboard shaping, Wayne learned from Torquay board designer Pat Morgan. Even in the early days Wayne had a futuristic imagination. A board of his from 1966 hangs in the Australian Surfing Museum in Torquay; it's a stumpy, deep-veed thing he designed in order to try barrel-rolls, a move yet to be mastered by any stand-up surfer 35 years later. Through the 1980s and '90s his wonderfully clean designs were hunted down by numerous champion surfers worldwide; in 2000, with the help of investors, he formed a new label, Evolution, based in the San Diego area of California.
"I feel the same about surfing now as I've ever felt," he told Surf Guide magazine in 1999. "I'd say I'm a lot more detached from it, not as compulsive about having to surf constantly to appease an inner hunger or insecurity about losing touch with the performance. As you grow older you naturally seem to develop a balance between all your commitments and activities." Between trips to California, he lives near Apollo Bay, Victoria with wife Lindy and their two children.
Craig worked for a while as an English and Drama Teacher on Victoria’s South West Coast before running away to join the circus — the film industry. He worked as a Runner and Assistant Director before Directing and then Producing music videos for leading Australian artists. Moving on, he Produced television commercials for prominent Australian brands and then Produced feature-length documentaries including Not Quite Hollywood: the wild, untold story of OZploitation! (AFI Award for Best Feature Documentary 2008; opening night film MIFF 2008) and Such Is Life – The Troubled Times of Ben Cousins for Channel 7 in 2010. He also Executive Produced the award-winning girl’s surfing film First Love in 2011. Craig got his first surfboard in 1974 and Uncharted Waters is his first feature-length documentary as Director.
At the age of 26, Clare Plueckhahn was voted as one of the top 100 most influential and creative people in Melbourne. Growing up in the ocean on the South East Coast of Australia has been a major influence to both her work and lifestyle. Clare has been operating as a freelance photographer and filmmaker for the past four years, primarily in the surf, fashion and advertising industry. Clare’s work has appeared in national and international publications including Surfgirl Magazine, ACP Magazines, News Magazines, Cooler, Foam Mag, Pop Magazine and Australian Surfing Life. Her surf industry clientele includes Rip Curl, Billabong & Patagonia. In 2011 Clare has joined forces with Fran Derham to start the creative collaboration Cos We Can—their first two surf films “Lunchbreak” & First Love, have both won international awards. When she’s not working on commercial jobs Clare spends most her time at her place down the Great Ocean Road.
Hugh Marchant is an experienced Art Director, who has worked with Director and Producer Craig Griffin for over 20 years, first at City Films, and now at The Directors Group on commercials and music videos. Hugh has art directed music videos for Elvis Costello, INXS, Nick Cave, Crowded House, Jimmy Barnes and John Farnham, to name a few. He worked in the art department on Ghosts of the Civil Dead, (AFI Best Production Design award in 1987) and Death in Brunswick, (AFI Best Production Design award in 1990). He created storyboards and concept designs for Subterano (2001) and designed sets on The Proposition (AFI Best Film award in 2005, IF awards for Best Production Design and Best Film). In 2007 he worked as a concept artist on The Road, directed by John Hillcoat and based on the Booker Prize winning novel by Cormac McCarthy.
Sara Edwards began her editing career working at the production company Famous by Tuesday, where she edited countless TV commercials and music videos including the Aria Award-winning Madison Avenue clips. In 2002, Sara branched out and started working as a freelancer. She has not only worked on the special features for Umbrella Entertainment’s DVD releases for such films as Patrick, Lonely Hearts, and Careful He Might Hear You, but also worked on the Channel 9 TV series Snake Tales and two animated children’s programs for Channel 10. Edwards co-edited the acclaimed documentary Not Quite Hollywood: the wild, untold story of OZploitation! (dir. Mark Hartley; 2008). Her exemplary work on this picture was nominated for Best Editing at the 2008 AFI Awards. More recently, Sara co-edited the feature documentaries Machete Maidens Unleashed! (dir. Mark Hartley; 2011) and First Love (dir. Claire Gorman; 2011).
Before his film and television career, Nick was a full time musician. He released his first records as the singer-songwriter of Blindside in 1991. They supported international acts like Smashing Pumpkins and received accolades in the UK music press including “single of the week” in Spin Magazine and “single of the month” in Alternative Press. With ambitions to become a screenwriter, Nick attended the Victorian College of the Arts School of Film and Television from 1999-2001. His background in music and recording quickly lead him to film sound, film score and sound design, which he has been doing ever since. He now guest lectures at the VCA in location sound and sound design. In 2009, he received an AFI nomination for best sound in a documentary for his location sound recording and sound design on Lionel (The Lionel Rose Story). Many of his songs have been licensed to film and television productions and he has written music for television programs including Dance Academy and The Heartbreak Tour and for numerous commercials. Nick works regularly as a location sound recordist. He has worked on feature films, documentary and on over 100 commercials. He has also acted in dozens of television commercials and in the ABC comedy, The Librarians.
John is an independent documentary and television producer (Arcimedia). His most recent productions include Kapyong, the forgotten battle of the Korea War that prevented a nuclear WW3; The 10 Conditions of Love, the highly controversial film about China’s Muslim minority, the Uyghurs, an their charismatic leader, Rebiya Kadeer; Constructing Fear: Australia’s Secret Industrial Inquisition, a net-disseminated documentary produced ahead of Australia’s 2007 general election; and PNG: The Rules of the Game, produced for ITVS (US) and SBS Television. He was executive producer ofPenicillin – The Magic Bullet (SBS TV/RDF Media/The History Channel), and producer of Troubled Minds – the lithium revolution (Film Australia / SBS) which won Britain’s premier science documentary award, the Vega Award, and was a finalist at the Beijing International Science Documentary Awards. Previous productions include AFI Award-winning documentaries, The Good Looker and Rainbow Bird and Monster Man, and the highly-acclaimed ABC TV art series, Eye to Eye with Betty Churcher.
“Everyone’s caught up with Wayne being the anti-hero, the 70’s anti-hero – kind of like surfing’s Clint Eastwood, but he’s really an ocean going waterman – there’s more to it than zinging a board around on his backhand.”
“Wayne was the throw-ahead to that modern way of surfing…but most importantly he had the waves…and I think he was the best ‘technical’ tube rider that ever lived.”
“Wayne is that rogue element that has never been turned into a dancing bear.”
“He seemed to have dropped out of the sky after a long visit to the future.”
“There’d been child stars in surfing – Jeff Hakman, Kelly Slater…but he wasn’t just a good surfer – at 16 he was the best surfer in the world by a long shot…”
“Wayne was a one in a million type athlete, who just happened to come into surfing. I don’t think there is any way to explain it…”
“To go from watching longboards to…Wayne Lynch, it literally blew their minds.”
“The surfing world needed a Wayne Lynch – and he gave it to them!”
“The myth of Wayne – it’s one of the most enduring myths in surfing.””
“Wayne was the person who took surfing from the horizontal to the vertical, and when surfing went vertical it introduced a whole new set of possibilities.”
“I’m not saying he was the only guy that did that, but he was the guy who personified it…I got goose bumps looking at pictures of Wayne surfing – I thought this is something completely different.
“It is the nature of some people to be drawn to the edge…he clearly went there…it’s not about audience…”
”Wayne was in my estimation, the most progressive surfer in the modern style of surfing.”
“HE’S FUCKING WAYNE LYNCH – HE IS OUR HERO!”
”Today in my opinion, he still stands out as one of the classic surfers of all time.”
“The most remarkable thing about the waves Wayne Lynch surfs in his own backyard, is generally he surfs them by himself…”
“It might have been different, if his personality had been different…talent wise he was the greatest of all time…”
“And here comes Wayne surfing down the point – it just stopped us in our tracks.”…”This is a guy who is a God to us…”
“Wayne was so advanced…the impact that he had is sometimes forgotten, because he went country.”
”Why do I think Wayne Lynch is the only Victorian surfer to make a name internationally?...He just had to surf his way to notoriety.”
“There’s something innate in Wayne, you look at those iconic surfers Midget Farrelly, Nat Young and then you go Wayne Lynch. He’s the icon, along with Gerry Lopez, of every young goofy footer who ever grew up…”
…”I saw Wayne Lynch surfing and went wow – that is just the ultimate”.
”Who is that? What is that? It’s like someone from outer space!”
“Wayne was the best surfer in the world when he was 18…It was like there was nothing more to go for – he’d already won 4 Australian Junior Titles…there was nothing more to prove…so he just went surfing…”
Wayne on the other hand was just a freak – every now and then you get some guy who comes along who’s got freakish ability – Wayne was definitely one of the those people…
“You look at Australian surfing and we’re kind of littered with freaks – Nat Young, Wayne, Michael Petterson, Occy, Tom Carroll, the list goes on and on, apologies to any freak I didn’t mention…”
“Wayne definitely had this freakish ability and it didn’t matter where it came from, it was going to come out – he had a love of surfing, a love of the ocean and found his way to the shaping bay.”
“When you’re surfing like no-one else in the world you can’t help but be a big influence on your own generation, generations to come and ultimately the history of the sport…”
“He kept himself kind of hidden, it engendered a tremendous fascintation with him that was never satisfied by his actually being there…”
“HOW THE FUCK DID HE GET SO GOOD? HOW THE FUCK DID HE INVENT ALL THAT SURFING FOR HIMSELF…SURFERS JUST DON’T HAPPEN LIKE THAT. THEY DON’T HAPPEN LIKE THAT NOW, AND THEY DIDN’T HAPPEN LIKE THAT BEFORE WAYNE…”
“Watching the documentary of the Puerto Rico World Titles…WL was so far of everybody it was startling.”
Surfing big waves, the intense moments: “Turns a few screws in the brain, and once you’ve had a few of those screws turned, you never quite turn them back again.”
“I was only a 12yo kid, but the idea of Vietnam fills me with horror – to go somewhere to kill people…especially because a bunch of old men told me I had to…how wrong is that. That ran completely counter to the idea of going surfing…and what Wayne got himself caught up in – which was nothing less than the clash of cultures between two visions of Australia…they just wanted to revisit war on their children – surfing was the opposite of that ,it’s freedom and a new way of looking at Australia, and even the place you were living.”
Melissa De Leon
P: 03 9261 9100