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HOAXVILLE

The process diary of film director Glendyn Ivin

NEW PROJECT ANNOUNCED : PENGUIN BLOOM

Glendyn Ivin

For years I’ve dreamt of making a film based in and around ‘nature’. Where an animal would be a main character and there would be a spirit of generosity and a wildness throughout. And it would be hopeful and emotional and beautiful and there would be darkness as well as light. And if it was based on a true story and had real life elements that could be drawn heavily on then that would be a bonus.

Dreams like this, especially when written down come across as thin and vague and highly unlikely, but… then along came Penguin!

Photograph by  Cameron Bloom .

Photograph by Cameron Bloom.

Penguin Bloom: Based on the International best-selling book of the same name, this magical film tells the true and emotional story of a family’s extraordinary friendship with a unique little bird. Set on Australia’s northern beaches, the film stars Naomi Watts (The Impossible) as Sam Bloom, a young mother recovering from a near-fatal accident that has left her unable to walk. As they struggle to come to terms with their new situation, a guardian angel enters their lives in the form of an injured magpie chick, whom they name ‘Penguin’. This odd little bird helps them rediscover the preciousness of life, as they learn to heal as a family. Produced by Bruna Papandrea, Naomi Watts and Emma Cooper, the film is directed by Glendyn Ivin (The Cry) and written by Shaun Grant (The True History of the Kelly Gang) and Harry Cripps (The Dry).

Pre-production starts soon…

SECRETS AND LIES

Glendyn Ivin

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Secrets and Lies (60 pages, colour, hardcover) is a very limited edition book of photographs from The Cry. The images range from location scouting photos, portraits, behind the scenes, details and visual explorations many of which became frames in the series. There is also storyboards, script notes and an introduction. ) NB: Not for sale.

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Excerpt from the introduction…

On one of our first days of shooting The Cry we were setting up for a scene between Ewen and Jenna in the backyard of ‘Elizabeths house’. In the scene, ‘Alistair’ schools ‘Joanna’ in how to behave in an upcoming press conference. We blocked and talked through the beats of the scene and now adjustments to lighting and camera were being made and there was the usual commotion of crew getting ready to shoot.

More often than not actors step off set during this time but Jenna chose to stay seated where the scene would take place. From behind my monitors I watched Jenna take a deep breath and gently closed her eyes and exhale. At first I thought it might be jet lag, but as the crew worked around her, Jenna sat still, eyes closed and seemingly unaware of the work going on around her. After five minutes or so, even when ‘final checks’ were called, her eyes remained closed as the hair and make- up departments moved in and made their final adjustments to her.

It wasn’t until all the crew had fallen silent and “Action!” was called that Jenna then opened her eyes and ‘Joan- na’s’ world, began. I realised then, that if we were to find our way through this complex story, I also had to filter out all the noise of the ‘real world’ and find myself present in the ever shifting, fractured realities of The Cry.

The images in this book are some of my own moments of stillness within those parallel realities that closely coiled around each other. The spiralling layers of tone, atmosphere, the look, the feel, the secrets and lies. The physical world of what we eventually called ‘the vortex’ of The Cry.

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THE FLAMES OF ANGELS

Glendyn Ivin

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Saw the New Year in quietly with some country fireworks and a swim on New Years day. 2018 was a huge year for me a director and us all as a family. 2019 promises more good things along with some challenges. Wishing you a creative year ahead!

RAY AND LIZ ARE A LAUGH

Glendyn Ivin

Richard Billingham’s book Ray’s A Laugh (below) changed the way I saw photography and has inspired me directly and indirectly over the years.

I’m very keen to see the film Ray and Liz (above) which is like watching Richards’ photographs come to life. Ray and Liz seems to be sitting in that sweet grey area where documentary and drama blur and dissolve and hopefully becomes something altogether new.