Jane Larkin Interview: The Edge – Director Q&A

Director, producer, writer, actor – and former Australian sprinter – Jane Larkin is making waves with her powerful debut film The Edge, now streaming on Netflix ANZ. Drawing from her own experience in elite sport, Larkin brings an unflinching lens to the emotional and psychological cost of chasing greatness – especially for women, LGBTQIA+ athletes, and Paralympians.

The film has already begun sparking national conversation, shedding light on the pressures of high-performance sport, the price of perfection, and the stories often left off the podium. We caught up with Jane to talk about the inspiration behind The Edge, her transition from track to screen, and the message she hopes audiences take away from her boundary-pushing first feature.

SR. What inspired you to tell this story now, and how did “The Edge” evolve from concept to screen?

I really like the Robert Bresson quote “A film is born three times: in the script, in the shoot, and in the edit.” That was very true of us, as ‘The Edge’ script evolved throughout the writing process. In the beginning there was only going to be a sole protagonist – with a focus on track and field – but over the years I decided to feature three protagonists, which I believe enhanced the story. The story changed again as we shot it. Sometimes the location has to change, or you realise the way it plays out in your head is unrealistic, and I always enjoy seeing what actors bring to their characters, too. The story then changes again in the edit. I think the first assembly cut was over two hours long and we ended up cutting it down to 1 hour 43 minutes, so there were scenes that I thought were essential, when I was writing and shooting them, that we realised weren’t after shooting.

SR. The film celebrates women’s athletic excellence while also exploring emotional and psychological pressure – how did you strike that balance between triumph and vulnerability?

That’s a good question. I’ve always been told that one of my strengths as an actor lies in my ability to be vulnerable in front of the camera, but, for me, I believe it was my successes that gave me the courage to be vulnerable. When I was an elite athlete, I was vulnerable every time I ran a race, essentially risking failure, because I could, obviously, lose that race. I think there’s very little in life that’s riskier than that, especially if you’re successful. Similarly, when I switched to the world of Film and TV, you put yourself out there with every audition, and you definitely don’t win them all. However, for women, I often think there’s added pressure. We see it all the time when women transition into motherhood – there’s criticism regardless of whether they work, don’t work, use daycare, use family – and that judgment is something that female athletes are all too familiar with, too. Beyond that, you have to have confidence to write a script and tell people you’re going to shoot it, and direct it, and cast yourself in it!

SR. You’ve included powerful stories from LGBTQIA+ and Paralympic athletes. Why was it important to spotlight those voices, and how did their experiences shape the narrative?

I’ve always loved stories, and storytelling, and, when I was touring with Australian teams, as an elite athlete, I loved hearing people’s stories: the triumphs and tribulations that made them who they were. I also trained with Paralympians and First Nations athletes, and their stories were some of my favourites. That’s why, when I was trying to finesse the script, I realised I wanted to spotlight minority voices and issues I was passionate about. I actually said to Mei and Lily more than once that I think it was everything the film stood for – all these issues – that allowed me to persist through the darker times and deliver the film.

“…when I was trying to finesse the script, I realised I wanted to spotlight minority voices and issues I was passionate about…”

SR. What challenges did you face in gaining the trust of these athletes to share such personal, often painful stories?

We spoke earlier about vulnerability, and I think Para-athletes are some of the bravest people out there. When they’re stepping out in a race, they’re not just risking a loss, but risking being defined by their disability (while, actually, showcasing their amazing ability). I became friends with Mei Ichinose in 2019, and, as our friendship grew, we talked more and more to each other about what made us “us”, and she was brave enough to tell me some of the stories we eventually used in the script. Her flashback scene, where we meet young Yui, is based on a real-life experience she had, so, because of that, I asked her permission to use the scene, and got her to direct it. Similarly, I asked Lily what sort of comments she has when she’s out in public, and often there are really great experiences and compliments, but something she was getting all the time was “who wears the pants in your relationship?” when she’s out with her boyfriend. She always has some sort of witty comeback, and so we put both those things in the film. And I think because of the bravery I saw from people like Mei and Lily, it inspired me to share some of my own experiences that had been difficult.

SR. Many documentaries on sport focus purely on competition – you went deeper into identity, mental health, and resilience. Was there a moment in filming that changed how you viewed elite sport?

Well, while ‘The Edge‘ isn’t a documentary, I understand what you mean. I wouldn’t say that there was an exact moment, but throughout the filming process, I did have cast and crew ask me if I really did throw up that often whilst training, and I said “yes”, and I really did get asked if it felt like dying when I lost a race – which is a line from the film – and I said “well, yes”, and I think people’s shocked responses made me realise that elite sport isn’t normal – or healthy – all the time. In saying that, I think it’s also impossible to separate the athlete from the sport, so that’s why I wanted to ensure we went deeply into these characters to understand their performance, and their choices. This had to include mental health, resilience, and a focus on the characters in a three dimensional sense.

SR. What impact do you hope “The Edge” will have – not just on audiences, but on the sporting industry itself?

I asked some of the sporting organisations to officially endorse ‘The Edge‘ and was disappointed when they had concerns about elements of my fictional story, when, often, the real story is much worse.

“…Sport has taught me many life-lessons, and a lot about myself, and, now that I’m a mother, I hope that if and when my daughter chooses to play sport, she will be treated as a human being, and not a performing robot…”

I think we must accept that no sporting organisation is perfect, because people are not perfect, and it’s more important to focus on what we can improve on for future generations. I believe we need more focus on athletes’ mental health, and I think audiences/spectators need to be kinder to athletes when they underperform.

Sport has taught me many life-lessons, and a lot about myself, and, now that I’m a mother, I hope that if and when my daughter chooses to play sport, she will be treated as a human being, and not a performing robot. I also think this is a story that I clearly didn’t finish writing at 15, as I wanted to showcase to audiences that there are plenty of choices out there for women, and female athletes, and the right choice for one isn’t the right choice for another, and that’s okay