The process diary of film director 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.
The Cry goes to air on BBC1 in the U.K this Sunday night (Sept, 30th). I’m very proud of this series and everyone who worked so tirelessly to make it as good as it can be. Amazing writing by Jac Perske who I worked with on Seven Types Of Ambiguity. I’ve worked on The Cry for close to a year and we have only just finished polishing the first episode. Usually a series sits on the shelf for a little while giving a chance for all the stress and tiredness to fade… but this quick turn around feels like it’s going out into the world with the paint still wet ; )
Really looking forward to people seeing it… especially the incredible performances from our amazing cast but in particular Jenna Coleman and Ewen Leslie who are both incredible. There are certain sequences and moments in this series that even though I helped conceive them, directed them, edited and watched them over and over and over, I’m still completely in awe.
20 years on. Still magic...
We spent the weekend exploring part of the remote Scottish west coast. Ring Of Bright Water, one of Natalie and my favourite films was shot around here and we were lucky enough to spot a pair of Otters playing along the coastline. So beautiful.
Soft powdery light hangs for hours as night slowly but surely falls over Glasgow. It's not 'dark' until around 11:30pm at the moment. Love living in and around this extended crepuscular light.
For weeks Sam and I tried to shoot this single lone tree on Argyle Street, Finnieston. We planed it, drove past it, stalked it for weeks. But we needed it to be wet and have no leaves (as in the photograph I took in pre-production below) as we were shooting Glasgow for 'winter'. It became a bit of an obsession for us but we never got to shoot it.
In a few short weeks, much to the joy of the Glaswegians, Glasgow went from being a cold bleak place to a warmer, sunnier and much 'leafier' place. The shoot is over and we missed it. But I still walk past that tree everyday as I walk to and from the edit suite. I'm still obsessed with it and I'll continue to photograph it. I really love that creepy lonely tree but I can't help but think it's laughing at me, taunting me, as each day its branches swell a little more with new summer leaves.
I could watch films about the making of films all day long...
I have moved to Glasgow for part two of The Cry shoot. We spent 5 weeks shooting in Australia and now a few weeks pre and then another 5 weeks of shooting here. I will edit and do all the post here in Scotland. Around 6 months all up.
Glasgow is a great city to be based. So much to explore in and around the city. It's been a dream to spend days scouting scenic back roads and mountain passes. So much beauty and drama in this landscape. Can't wait to get shooting again!
DOP Sam Chiplin and the city of Melbourne both finding the light.
I've always been interested in the wonderfully grey area between factual and fictional filmmaking. It's what get's me most excited as a filmmaker and as an audience member. Eugene Richards is one my favourite photographers (now turned filmmaker) and this seems like such an amazing way to go about making a film. Yes please!