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The process diary of film director Glendyn Ivin
While driving back down south towards Melbourne, we passed near Gosford, so I thought I'd best drop in and have a cup of tea with my Dad. I lived in this house for a couple of years when I was 11 and I've only visited a couple of times since. There are a lot of memories here, both good and bad. It was good to see my Dad though.
Back from 3500kms of family road trip fun. Xmas good. New Years good. Country air, ocean air, afternoon naps and eating and drinking way to much with family and friends.
"Are we there yet... Are we there yet...?"
Scratch this off my 'to-do' list from below... Watched a screener of Dragonslayer the other night. A vérité documentary about 'free spirited' skateboarder Josh 'Screech' Sandoval. The film creates a cinematic portrait so rough and ready, yet so pure and intimate. To be honest, it's the sort of film that makes me want to give up film making altogether because it's the kind I have always wanted to make, and here it is, made. Well not quite... but it's a film that both inspires me and frustrates me in the best possible ways.
The other thing that Dragonslayer does well is give you incredible access into a very 'specific world'. I've seen many 'skate films' and films with skateboarders as characters, but none have given this kind of access into the lifestyles of this subcultures most hard-core players.
It's such a beautifully poetic and fucked up punk of a film.
Really looking forward to having some time off over Xmas and New Year. Should be able to get a good couple of weeks or R&R in. About to jump in the car and make the annual pilgrimage to my home town Tamworth in New South Wales. Family road trip here we come! I had some photos to post... but for some reason after I updated Wordpress to the new version 3.3 I can no longer upload images... I'm sure there is a fix around the corner, but if anyone has any hints, I'm all ears!
In the meantime, I'm hoping you all have a super Christmas and relaxing New Year!
Also... This!
Finished Beaconsfield today...! Although that old saying does spring to mind... "You don't ever finish a film, you abandon it..."
Don't have an on air date as yet... but I suspect it will be early-ish next year maybe.
Some snaps taken during production that haven't made it here after the break...
The group show at the Centre For Contempory Photography I have been part of here in Melbourne ends this week and goes on a two year gallery tour around Australia. The images I had in the show form part of a larger series of photographs I made last year in Vladivostok, a remote city in the far east of Russia. The boys were skating in a park on the edge of town that featured a large statue of King Neptune. They were like kids anywhere else in the world hanging out, killing time. But to me there was something about these boys that represented a city and a country in transition.
Exhibition tour dates and more images of the CCP show after the break.
Documentation photographs by Andrew Burford.
Tour Itinerary for the eighth CCP Documentary Photography Award
COWRA REGIONAL ART GALLERY
EXHIBTION DATES: 27/10/11 – 11/12/11
LOGAN ART GALLERY
EXHIBTION DATES: 04/04/12 – 12/05/12
GLADSTONE REGIONAL ART GALLERY AND MUSEUM
EXHIBTION DATES: 19/05/12 – 30/06/12
HERVEY BAY REGIONAL GALLERY
EXHIBTION DATES: 09/0812 – 22/09/12
WAGGA WAGGA ART GALLERY
EXHIBTION DATES: 05/10/12 – 09/12/12
BENALLA ART GALLERY
EXHIBTION DATES: 26/01/13 – 10/03/13
MUSWELLBROOK REGIONAL ARTS CENTRE
EXHIBTION DATES: 22/03/13 – 12/05/13
ORANGE REGIONAL GALLERY
EXHIBTION DATES: 31/05/13 – 07/07/13
ART SPACE WODONGA
EXHIBTION DATES: 19/07/13 – 10/08/13
SWAN HILL REGIONAL ART GALLERY
EXHIBTION DATES: 15/08/13 – 29/09/13
MILDURA ARTS CENTRE
EXHIBTION DATES: 04/10/13 – 17/11/13
Happy Birthday Rosebud!
Been spending the week sitting in the dark, colour grading guys sitting in the dark. Most our conversation about the grade has been about how 'dark' we can make 'the darkness'. I wrote a few months ago about how black a mine really is and I know if we were grading for 'cinema' we could perhaps go a sniff darker than we have. But as Beaconsfield is for broadcast we have to take into consideration that people may watch the film, heaven forbid, with a light on or even wierder, they may not be watching the film on a 'broadcast calibrated monitor'.
Regardless, I'm really happy with the direction the grade is heading and it feels great to be on this side of a long production schedule and to be almost 'finished'.
When I first saw the clip below, my first thought was how useful this would be to see if how effective your visual storytelling is, to asses composition and to study how an audience views a sequence. My second thought was how all the marketing folk will use it to asses if an audience is staring at their hamburger/cereal box/car long enough.
And my third thought was how incredible Paul Thomas Anderson's has 'blocked' this scene! The way the camera leads you to reveal the other characters and open up the dialgogue between those characters.
Either way this is pretty bloody fascinating!
'This is an excerpt from There Will Be Blood (Paul Thomas Anderson, 2007). 11 adult viewers were shown the video and their eye movements recorded using an Eyelink 1000 (SR Research) infra-red camera-based eyetracker. Each dot represents the center of one viewer's gaze. The size of each dot represents the length of time they have held fixation.'
More info and research examples from TheDIEMProject here.
Thanks John Brawley!
Spent some time in Sydney over the last week with Stephen Rae who is composing the soundtrack for Beaconsfield. Being a story that takes place predominatley underground, early conversations were about 'elemental' and 'organic' sounds. The sound of rocks, air and water and music that forms in and out of the environment. For the past few weeks (amongst our discussions about cameras, watches and motorbikes) we have been working through demos and musical sketches and these ideas are now becoming more defined. Through Stephens sonic explorations we have settled on the clarinet as one of the key instruments. I must admit I've never been drawn to the clarinet, I tend to steer clear of 'reed instruments' in general, (except I'm quite fond of the oboe), but the way Stephen is using it is really different. Then I realised there is a whole album I love that uses the clarinet in a beautifully textured and ambient way. So I'm really looking forward to see how it all keeps progressing.
Below: Sydney mid afternoon storm, recording studio flowers and Peter Jenkin (lead Clarinet of the Sydney Opera) recording clarinet sounds for Stephen to compose and edit with.
