Executive Production Runner and good vibe facilitator, Chris Lee.
The process diary of film director Glendyn Ivin
How amazing it would be to live by the ocean. Perched on the edge of a rock, remonded daily of the epic scale and proportion of nature and the beautiful world we live in. I hope I'd never grow tired of the ever changing spectacle that roll out every single day and night. I think this would be similar if living amongst giant mountains. Surely having so much big stuff around you helps you put the small stuff into perspective.
I took the below photos about 20 minutes apart, from the balcony of a friends house in South Coogee. I stood and watched that huge cloud tumble over us and out to sea and then the 'wolf moon' floated up from behind the horizon, all blood red and stunning. The cloud and the moon helped put a few things into perspective.
Just back from a ten day trip to shoot the London element of the campaign I'm currently working on. I love London but have never shot there and it was great experience overall. Met some great people. Friends I'll hopefully get to work with again. All the below portraits were taken with a new / old lens I bought while there, the Leica Summitar f2.0, built in 1939.
Just returned from a ten day commercial shoot through Queensland. Really great experience. Great cast, crew and locations. It really is a spectacular place. Looking forward to getting into the edit next week.
Unexpected beauty reminding me to always be aware, ready and waiting. Have spent the last couple of weeks travelling through Queensland scouting locations for a commercial. Haven't been in the commercial world for quite a while and this project has been a welcoming return.
While visiting my Dads place for the last time my brother and I collected boxes of his slides. Thousands of them. Dad was a keen hobbyist photographer and shot reversal film most of his life. There is going to be some real gold hidden in those boxes.
I'm really keen to find the photographs he shot in the film I made of him after his passed away. (below). I'll definitely cut them into the film if I do.
My Dad passed away a couple of years ago but this week the family all got together finally in Gosford to scatter his ashes and complete the process of saying "Goodbye". The day was a strange mix of feelings but ultimately it was great to see family I don't see that often.
As my Dad's wife Cheryl was in the process of moving, we also visited his house for the last time. I lived in this house for a few years as a kid so there were alot of memories floating around.
I collected a few things; one of my Dads' paintings, boxes of Dads' slides and his diaries where he kept a brief but daily account of everyday since 1961! He also kept books of 'lists' and proverbs and sayings. Dad was quite the documentor!
Years ago at the Berlin Film Festival I was lucky enough to get tickets for a sold out masterclass by legendary editor and sound designer Walter Murch (above). I thought he would give some edit tips, tricks and filmmaking anecdotes but what he talked about was so much more insightful and has influenced and inspired me in countless ways since.
He began his talk by playing an audio clip of a mysterious sound. A rhythmic, muffled and distorted 'pulse'. He asked the audience if anyone could identify what the sound was and no one really could. He then told us that the sound he was playing was a audio recording of the mother's womb, essentially what a baby can hear before they are born.
He explained the ear and the mechanics of how it works forms very early on during gestation. In theory we are aware of sound long before the brain understands what it is. So we have an aural sense long before a visual one. Walter discussed this idea as a way to describe why sound is so 'intuitive' to us. For example, and it's generalised... most people have opinion on what music they like, but find it hard to describe, why they like it. Whereas most 'non creative' people don't really have an aesthetic opinion on images.
He continued his class by showing us some specific scenes from films he had worked on. In particular the Godfather. He wasn't so much interested in discussing the edit, but more the sound design elements. He went on to discuss why sound is arguably more important than vision in cinema. An idea I agree with wholeheartedly, but never really knew why.
Essentially our brains were processing sound from the forming ear long before we were conscious of what it is. Therefore we have a much deeper, more subconscious relationship with the aural world. It's pre-conscience. It affects us emotionally and in ways we find difficult to describe because it's been part of our world long before we could think, let alone speak or see.
I think about this alot.