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HOAXVILLE

The process diary of film director Glendyn Ivin

Filtering by Category: Last Ride

Hidden Treasures

Glendyn Ivin

I updated the Behind The Scenes section of the website with a short clip - quickly cut from a tape from 'Tom's Camera'. As part of his school activities while on set he was given the task to shoot and edit a little behind the scenes film of his time on the movie.

It's quite a cool little insight into some of the things that he observed that others might not have noticed. The worlds is an amazing place to a 10 year old. Anyway, while spooling through the tape, (which in a funny way felt like looking through some else's diary) I found this really cool section of Tom and his acting coach Loren (who is also a great actor and stars as Lilly in one my favorite fun films ever) killing time singing songs together.
It really shows what Tom is like, just a regular down to earth kid, and it also reveals the warmth and friendship that was formed between Tom and Loren over the course of the production. Although I'm sure both Loren and Tom would have stories to contrast this. (In fact Loren still might have one or two bruises on her shins as evidence of this.)

Behind the Salt

Glendyn Ivin

Weekly updates to the Behind The Scenes section of the website will be posted over the next month or so. A snippet from the Salt Lake has just been put up. Apologies that all the BTS clips so far seem to feature me and in particular me sitting in the drivers seat of a car at some point. Some different perspectives coming up, I promise. I'm not sure about 'behind the scenes' in general though. As a fan-boy, I'm really into them, I love what they reveal and what you can learn from them. I remember watching some Aniversery Edition of the The Wizard Of Oz when I was a 14, and even though it was a VHS tape, it had a little featurette (not the actually footage I'm writing about, but similar) of some scratchy Super 8 that was shot on set of people in tree costumes waving their arms so the 'branches' moved and IT TOTALLY BLEW MY MIND! It wasn't just seeing behind the scenes, it was like peeling back the absolute veneer of make believe to the point where the film and most importantly the story, just fell apart infront of me. It was a little like finding out about Santa or the toothfairy not existing.

So I'm not crazy about seeing any BTS before I see a film. Because the last thing I want when I'm watching a film and totally engrossed in the drama, is to be reminded mid-scene about what was going on behind the scenes.

While I can see the benefit of sharing clips to tease and provide interest in the film pre-release, we have tried to cut and select clips that a) dont give anything away about the story, and b) doesn't reveal to much about the scene that you are seeing behind. And therefore jerking you out of the film when and if you see it. The clips are more about process and little access to the reality in which the film was made in.

Larger Than Life

Glendyn Ivin

I first met Hugo to talk about the script in a cafe near his house in Sydney (March 2007). The first thing I noticed was how 'big' he was. I'm pretty tall at 6'2", and I don't think he is much taller. But he just appears bigger. Quite the opposite to many actors you meet or see in 'real life' where they are much shorter than you think. Hugo is larger in life and on screen. (I think that GW cover might be close to actual size :)

ps: Cool that the mag used a shot of Hugo in character as Kev, bloody wound above the eye and all! Although, Hugo always had a thing about Kev not making eye contact, especially in a photo.

Print it!

Glendyn Ivin

As an ex-graphic designer, I find hard-copy printed material very stressful, especially when designing things for yourself. It's one of the things I love about the web, it's always liquid (the ink never dries), so you can always go back and fix and refine details, but with print, once it's signed off that's it. It's on the press, to be printed X amount of times, over and over, mistakes and all! I had a few print bungles when I was a designer, can you tell...? : )

Thats said, I've been very excited about the printed material for the release campaign. The poster looks great, (thanks Marcus ! I'm sure I drove you a bit nuts, but I appreciate your fine work!). Also I'm very pleased that Madman printed the posters 'double sided', which means the colours and print will be more solid and saturated once in the light boxes. Geeky I know, but so much thought, time and effort goes into making these items, it's cool to know they will be presented as best they can be. I'm sure it makes an impact on the public even if it's on a subconscious level.

Along with the regular A5 flyers, we have also designed some beautiful 'limited edition' fold out poster/flyers, that should be in your favorite cinema, cafe, bookshop etc very soon...

Behind The Scenes

Glendyn Ivin

My friends Jono and Tim who shot all of the behind the scenes footage and are now neck deep in over 40 hours or so of footage that once cut down will eventually make it onto the DVD etc. They have been doing a great job (at making me look like a dill).

"235" as in an Arri 235, one of the most compact 35mm film cameras. It's light-ish (you couldn't really hold it like that picture shows for too long...) and portable, but it's not a synch camera which means you can't shoot and record sound at the same time, unless you want the sound of the camera whirring away in the back ground.

"M.O.S" stands for 'Mit Out Sound'. Deriving from an old Hollywood story where a German director asked for a shot to filmed 'Mit Out Sound', without sound, and the camera assistant complying and writing M.O.S on the slate.

We shot quite a few sequences of the film like this. "235 MOS" meant we could strip right back and work as a (even) smaller team, usually just 3 or 4 people, and work very quickly. I love shooting this way, it really frees you up. Depending on the set-up and what the scene requires what might normally take a 3-4 hours, might take an hour. Of course you can't shoot with synch sound, which means it will have to be created later in po$t.

Apart from just saving time though, I find it creates a far more direct and intimate shooting situation. And this above everything else is what I crave.

The Trailer!

Glendyn Ivin

I'm really happy to have this out there. It was always going to be a tricky trailer to cut, as the film relies on the audience not knowing much about whats going on, particularly in the beginning, so we never wanted to reveal to much about what actually happens in the film, it would be very easy to give it all away.
But I think the trailer sits in the right place. it gives you a good idea of the look and the feel and suggests what happens in the film, but doesnt show you everything. It teases in the best kind of way.
Most importantly I hope it makes people curious enough to see the film.

Dust to Dustin

Glendyn Ivin

Have been working on a bunch of press stuff, but most importantly the trailer has been locked off and should be out and about very soon. It's quite different to the teasers, which it needed to be. It's a much more commercial proposition I guess. The trailer was cut in London by Dave Hughs at In-D. I worked remotely via email and Skype with him and to be honest I thought it was going to be a pain in the ass. I'm so used to sitting in edits and working directly with editors. But it went so smoothly. Dave was fast and friendly. Trailer cutting really is an art all of it's own.

Above is a shot of me and Greig I really like. On our days off (Sundays) Greig and I would go out and shoot stuff by ourselves. Usually with the help of our attachments, Dustin and Ari. It's where I felt I really got my head around making the film. In the middle of the beautiful desert filming shots and sequences that we knew might never end up in the film(and most didn't), but we had a great time shooting them anyway...

Hurry Up and Wait...

Glendyn Ivin

It feels as though alot has been happening as we move towards the release date. But it's all a bit nebulous at the moment, lots of ideas and plans but nothing I can really discuss at this point in time. Soon though...

One thing I'll mention though is that I was able to beg and plead with producers Antonia and Nick to let me crack open the sound mix of the film and do some more tweaking. If you have been reading this blog, you would know that the mix was a hard time for me as I'm pretty obsessed with the way things sound. It wasn't that I didn't have the right tech and /or people for the sound to be right, it was just our old friend TIME. Again.
I really felt as we finished the final mix before Xmas that I needed to watch the film in a cinema again and then have another day or two to do final tweaks. But due to our delivery schedule for the festival it just wasn't able to be like that.
But having been able to watch and listen to the film in a few different cinemas at the Adelaide Film Festival, I just had a growing list of niggling, horrible sound things that just bugged the hell out of me. They were not huge, and most people would never have noticed I guess, but to me they echoed in my head before, during and after each screening. The idea of locking the film down and these 'mistakes' being there for the rest of it's life really freaked me out. So I was very pleased when I got the green light to head back over to Adelaide and spend another two days tweaking all the things I wanted to, and quite a few other things as well. I feel really good about it all now.

One Year Ago Today, Again.

Glendyn Ivin

After spending a couple of days driving through The Flinders Ranges, I began feeling a little giddy with excitement. To much fresh air perhaps...


I had such a great time on this trip, I think we were out there for 8 days all up, and we drove around 5000kms, it really was like watching a dream come together in slow motion. However, the real trick at this stage was that the film had not yet been financed. We were being very pro-active and starting early so if and when it did get up we had already begun a major part of the pre-production, but on the other hand if the film failed to get funding, this trip would have been a great big tease for what 'could have been'. So once we returned home the pressure really started to build.

Below a selection from the thousands of photographs I took of locations and landscape on that first ride, many of which became part of the film.


One Year Ago Today

Glendyn Ivin

Back in the olden days, before I kept this blog, I used to write things down in a book. Freaky!

It's one year today (even though my journal says Feb, it was actually March) since I went on the initial location scout for the film. It was the first of three, but in many ways the most significant.

Nick and Antonia (Producers) Jo Ford (Production Designer), Mason Curtis (Location Manager) and me, all jammed into a 4WD for five days...

Crackbook

Glendyn Ivin

Now there is one more excuse for you to waste your time on Facebook.

We have launched a Last Ride Facebook page. It seems like a great place to make announcements, and communicate directly with people. Anyone can post photos, videos and news directly. There is a discussion board and a few 'fans' have already posted some of their own photos which is great.

Please do join in.

And on other geeky fronts. I've seen the working Last Ride website via Madman and I'm really, really happy with how it's coming along. Not sure when the full site will go live, I'm sure it will be sooner, rather than later...

"Ya Nervous?"

Glendyn Ivin

Perhaps not surprising, but now that the film is finished people keeping asking me if I'm nervous. I think I'm equally parts nervous and excited. I'm totally excited about the screening in Adelaide next week. Alot of cast, crew and friends are making the trip over and that's really exciting, I totally appreciate the interest and their continued support. It seriously means alot.

But I think the nerves kick in when considering the longer term goals of the film and it's eventual release (on the 2nd of July). I had a great catch up dinner with producers Nick and Antonia the other night before we watched the final print and we sat around for a couple hours and I think everything we discussed was pure speculation. What if? How about? What happens when? If this happens what then? We talked ourselves around in circles.

The next few months are really important for Last Rides life. And although I believe in fate and destiny, my fingers are crossed so tightly my knuckles are white. One thing I'm sure of is, is that this film has been looked after from the start. We have been very lucky throughout the entire process, so I trust this luck continues.