We've all had days when everything goes wrong," says John Polson. "This guy's having a life like that." Polson is talking about Perry, the central character in Siam Sunset, Polson's debut feature. "I like the idea of a guy battling the universe…"

Siam Sunset is a romantic comedy, but Polson adds a proviso: "It is a romantic comedy, but the theme is the central character coming to terms with the death of his wife. It's really multi-genre and I embrace that."

The short synopsis explains: 'Perry's perfect life creating colours for an English paint company becomes a world of pain after the tragically bizarre death of his wife. When he wins a bus trip across Central Australia, it is an odyssey in search of an elusive colour - Siam Sunset - and some relief from the natural disasters that mysteriously pursue him.'

In a way, it could be said that this project 'mysteriously pursued' Polson, who has built up an impressive track record as an actor and short film-maker. He was in the cast of the mini series Kangaroo Palace, whose executive producers included Andrew Knight, co-writer of the series. "I was really impressed with Andrew, and he knew that I had plans to direct something," says Polson. "Siam Sunset (written by Knight and writing partner Max Dann) had been lying around for a while, without a director attached. I read it and saw it had some very interesting things to say, and I wanted to do it, but Andrew said no - it's too big, couldn't raise the money with a first-time director… no hard feelings."

A year later, following the 1997 Cannes Festival, Knight rang Polson. He'd been talking to Southern Star, who gave him confidence. "Seems you could be an option," Knight told him.

Polson took the script and outlined what he thought it needed. "I don't mean to demean the writer here, but all scripts need direction; it's very collaborative. It needed to be shorter and the dialogue needed editing. It needed a vision."

came the hard part: Polson was needed for a hefty supporting role for Rowan Woods' The Boys, shooting in Sydney. Knight and his Artist Services production company is in Melbourne. "I'd fly down every weekend after shooting The Boys all week and spend 16- to 18-hour days with the two writers." The drafting went on for a year.

Artist Services called in Al Clark to produce, and Clark also had some input, but most of the work was done. "It was already highly evolved and completely engaging," he says. "Most intoxicating was the amalgam of the romantic and the comic and the surreal. It felt like that rare thing - a wholly original piece of work, but within familiar landmarks."

Clark was amazed at Polson's focus; "From the start he would leave no detail unexplored, no element unexamined. This unrelenting approach to the script was the catalyst for the rest of us becoming as exacting in our standards." As a first-time feature director, Polson also enjoyed the lack of restrictions that come with perceptions of what can and can't be done. "The guiding force," says Clark, "was one of stretching the boundaries."

Linus Roache (Priest, Wings Of The Dove, playing Perry) is also impressed by Polson's directing; "He's an amazing guy, he's able to work on every level. I was blown away by that. From minute details to big logistics, and yet to still be available for the actors… everybody completely respected him." Roache says the film struck him as very funny: "I read it and it got me. Also, it's not just comedic - it's very real and true, but larger than life, too. There's something magical weaved into it. I can't think of anything like it - which is probably in its favour." After two test screenings in Australia, Clark feels "it has a chance to play across a wide spectrum of audiences." One of the tests was for a group in their late 30s and early 40s; the other was for a younger group with teen girls and a mixed group from mid to late 20s. "Both yielded tremendous responses," says Clark.

The project had seven investors, the most that Clark as producer has had to deal with. "It's the nature of the film; lots of travel and vehicles and big set-pieces involving natural - and unnatural - disasters, and corresponding SFX. It means there is no cheap version you can make. All you can do is contain it. We made it in 38 days! And it's a very complicated film. We had to tailor it to fit the money. Amazingly, it doesn't feel like we've cut corners, yet every day we had to work out how to do things in less time and for less money than seemed possible." But that's par for the course in Australian film-making, of course, where invention often has to replace cash, and Polson gives Clark credit for being "the driving force".

"It was certainly difficult," Polson admits, "and nerve-wracking. But I quickly settled into it. I love working with actors; I respect and understand them. I enjoyed being an ally." An actor himself, this is not surprising. And he never considered taking the lead role himself. "It would have been suicide. The industry probably expected me to do something, even if only a small role - so I didn't," he says flatly. "I've made shorts (where he acted and directed), but I was the only one in them." (Polson's celebrated short, Going On Frank?, stars Polson as both Frank and his doppleganger.)

Getting the right man

Siam Sunset has a big cast and Polson met 300 actors during casting. "I was secretly refining a technique for working with actors," he confides. He relied on gut instinct ("it's all I've got") and it was his partner, fellow director Samantha Lang (The Well) who suggested Linus Roache after seeing him in Wings Of The Dove. "She insisted I see him - and when I did, it turned on a light bulb for me. So I went to London and met 30 actors, including Linus, but I couldn't see anyone else in the role. He's vulnerable, funny, and I felt you would believe his wife has been killed a week ago. He has that ability… he didn't look like he was acting."

Polson gave the film "every ounce I had" for a year even before making it. He learnt that time was crucial and breathing time should ideally be planned for - "that gets elbowed out". He also learnt he could listen more to other people. "But you're afraid and tend to cling to what you know. In my second film, I'll be more relaxed," he promises.

For music, Polson and the team chose an orchestral score, picking Melbourne-based Paul Grabowski and the Melbourne Symphony (this despite a budget ceiling imposed on first-time directors by the Film Finance Corporation's investment criteria).

"My parents are jazz musos," says Polson, "so I've known Paul from his jazz work, but I also know of his orchestral compositions. He loved the script and I wanted everyone in on it to fight for their area. I wanted the film to pull their best work. And he did. So did (cinematographer) Brian Breheny (Priscilla)."

In the edit suite, Polson was "tougher than the editor. I cut it right down… it runs 92 minutes. I didn't wince to cut two days work out. You can say a lot about the film, but you can't ever say it's too slow!"

Siam Sunset sales expected to rise and shine

Sales of Siam Sunset are through Southern Star and UK rights were part of the financing package, in a deal with Channel 4.

"We are very excited about Siam Sunset," says Helen Thwaites, head of Southern Star Film Sales. "It's in the vein of Muriel's Wedding and Strictly Ballroom in that it has all those elements that audiences around the world have embraced in Australian films - it's entertaining, likeable and funny, with exotic locations. The film takes you on a wonderful journey that includes adventure, romance and fun. All these elements will certainly appeal to buyers who are always keenly anticipating the next 'new' Australian film. With a leading actor like Roache (Priest, Wings Of The Dove), it's a pretty exciting prospect."

"The Australian film industry is one of the most dynamic in the world," comments June Dromgoole, controller purchased programmes, Channel 4. "Siam Sunset is the first of the films to emerge from a deal that Channel 4 has concluded [in association with Premium Movie Partnership] to ensure that we continue to access the best films in this increasingly important market. I am delighted that it has been chosen for the Official Selection." Andrew Urban