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HOAXVILLE

The process diary of film director Glendyn Ivin

PRE SOUND

Glendyn Ivin

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.

WIDER

Glendyn Ivin

Spent time shooting ariels of Melbourne for Seven Types Of Ambiguity last week. My hope is that they not only bring some scale and visual continuity to the series but also and more importantly, I hope they bring some of the emotional breadth. Some of the footage looks 'anatomical', like veins or arteries. Maybe in this way the images are more representative of the vastness of the characters physical and emotional worlds. Regardless, It sure was a beautiful up there!

GHOSTS

Glendyn Ivin

Sad to see one my favourite shops in Brunswick close down (after 47 years of business!). The kids and I nicked named it the 'Baby Ghost Shop' because the dressings always looked like mini ghosts floating in the window. This place  is just one of many old business's that seem to be shutting down at the moment.

Below some photos of the 'Baby Ghost Shop' I took a couple of years ago...

SAME SAME, BUT DIFFERENT

Glendyn Ivin

Scanning through my Lightroom archive... My eye was drawn to these very similar photos. Whether it be in Swiss Alps or on a film set in Melbourne I'm just trying to take the same photo...

STILLNESS

Glendyn Ivin

This beautifully spare behind the scenes film of wildlife photographer Vincent Munier at work in the Arctic is as stunning as Vincent's photographs. Watch full screen!

SUBconscious LIFE

Glendyn Ivin

One of the unexpected outcomes of my Photograph Every Day project is regularly creating images where the camera feels less like the 'documenter' and more like a paint brush. The above sample, some of which have appeared on the P.A.D page (and my instagram) were taken in London, Paris and Melbourne over the past couple of months. 

Glendyn Ivin

I have a backlog of photos from the past few months I want to put up here on Hoaxville. I'll start here with two portraits of Nat and Rosebud on the bank of the river we stayed by over Christmas. The river joins two large lakes, Lake Thun and Lake Brienz, hence where we were staying Interlaken (translation - between two lakes).

THE REVERENCE

Glendyn Ivin

Finally saw The Revenant. What an amazing, amazing achievement. I don't think I've been that blown away by a film since...well since Birdman! (and maybe 21 Grams before that!) Emerging out of the cinema I felt my senses heightened. The air seemed cleaner. The sun warmer. Colours more saturated and peak hour Lygon street seemed almost calm and quiet.

The whole approach to the way that film was realised makes absolute sense to me.  It's everything I aspire to as a filmmaker. The hyper realism, the humanity in the performances, the dream like poetry, the light, the immense geography, the extreme adventure of it etc... it's inspired me no end. It reminded me of quote I read recently...

 "I would photograph an idea rather than an object, a dream rather than an idea." Man Ray

The whole film feels like a dream... It's not so much the story or the performances that struck me in The Revenant, it's the 'spirit' of the film, the uncompromised dream like cinematic language. It just made sense to me on a purely emotional level. It felt essential, like oxygen.