Kit Lynch-Robinson, is a director of all things digital and film. He’s spent fourteen of his thirty three years working in the industry, and has a love of cars and making biscuits.
Where did you grow up?
In the countryside, miles from anywhere
What do you dislike about the industry?
its easy to berate clients but I find the lack of realisation that a freelancer isn’t on a salary and it costs money to do treatments and work for them difficult to swallow. A lot of the time its account management promissing stuff without thinking – and I know of one creative director at a major ad agency who has started telling clients that they can’t have treatments until stuff has come out of research and is going to happen – once they know and have been made to realise they understand and back off a bit. None of us mind working hard – its when you are doing it for non-existent jobs its gets tiresome.
What’s the weirdest thing to have happened to you when making a film?
So many weird days and that’s one of the joys of this industry – I worked on Chris Cunningham’s Flex film – it was the close-up days for the sex scene – 3 stunt cocks, who got paid per pop shot, a woman, her husband and a photo-sonics camera – that was a pretty surreal day.
Which area of business, or client would you never work for and why?
Morally? I’ve never had to turn anything down as of yet but thats not to say I’m lining up to do propaganda films for Mugabe. I did some work for the Royal Marines and did think about it. I came away having satisfied my moral compass. They are the elite, they aren’t economically conscripted , they are amazing people to meet and we need them – there has been war since the dawn of man. As for clients who treat you badly, there are plenty and I have learnt to trust my gut – you get a feeling the call comes in, you know its going to be a headache all the way through but you want the money so you agree to do it anyway – now I don’t, its never worth it.
Do you get the opportunity to create your own personal work outside of commissioned or commercial work?
I try to make a personal piece of work every year, a good one – that doesn’t sound a lot but I’m into old school production values and this needs people ergo cash even if its just to feed them – however I have plans for a more raw, performance and story driven film that I want to shoot on the D5/7- The canon revolution is amazing – I understand DOP’s that whine about it, but frankly, if its the choice between a beautifully shot film stuck on a roll in the lab waiting for a free one light or a film shot and posted but shot on a d5 then its got to be the right choice every time. Sure I’d love to shoot everything on 35mm with a phantom hd as a 2nd camera all the time…maybe soon.
Kit Lynch-Robinsons Submission – Sneeze