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FINCH signs director Lucy Knox
FINCH signs the director for representation in Australia and New Zealand.
Director Lucy Knox likes to people-watch. She says it’s the only upside to being on a packed bus, and that the best sagas can be witnessed from the back seats.
It shows in her work, capturing the in-between moments when people give themselves away. "I definitely take note when there's a contradiction in what someone thinks they're projecting and what's actually coming through," she says.
Her recent work for Hector's Deli is built on it. Nora sits down to find her date, Chris, looking nothing like his photo, while he's busy finding his sandwich guilty of the same offence. Both, it turns out, are better in real life. "What's exciting about commercial and shorter work is being exacting with a very finite amount of time," says Knox. "Nothing gets to be flabby, it's all about landing one clear idea. You discover quickly what you actually need and what you're just attached to."
She's been building that world for the better part of a decade, with short films travelling from the Berlinale to MoMA to the Criterion Channel, picking up an Australian Directors' Guild award and a Gold YDA along the way. Let loose in the Criterion Closet herself, she'd take Muriel's Wedding, Come and See, as much Haneke as can fit in the tote, and a petition to get He Died With A Felafel In His Hand into the collection.
Writing and directing across commercial, documentary, and narrative work, Knox is currently developing her debut feature, an expansion of her Berlinale short Hot Mother, with Toni Collette and Milly Alcock attached to star.
“Meeting Lucy felt like catching up with an old friend I'd somehow never met,” says FINCH EP Loren Bradley. “I'm thrilled to have her join us and can't wait to see what we build together.”
“FINCH make things that are genuinely funny and genuinely well made, which is a rarer combination than it should be, and they don't seem interested in sanding the strange bits off, which matters to me. I’m looking forward to creating work that shows people unearthing the messy, complicated parts of themselves, or gives audiences room to do that themselves,” says Knox.
