For a limited time, Digistor is including Digital Tutors online training with every commercial 3ds Max or Maya purchased* giving you and your team access to the world's largest online CG training library for free.
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Grass Valley and Corsair Solutions are proud to announce that, as part of a special competitive upgrade promotion, users of Apple's Final Cut Pro, Adobe Premiere, and Avid's Media Composer can now upgrade to EDIUS 6 nonlinear editing software for just...
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The PMW-F3 Super35mm digital cinematography camera from Sony truly represents a breakthrough for independent producers, filmmakers and videographers looking for maximum value in these days of ever-tightening budgets.
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Should cross-platform services like YouTube and Bigpond have an obligation to local content?
Yes
No
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Cover story: The Last Ride
[Thu 28/05/2009 05:50:28]
After winning in Cannes in 2003, Glendyn Ivin was patient when it came to selecting his first feature, Last Ride. Six years later Simon de Bruyn talks to the filmmaking team and star Hugo Weaving about the long journey from script to screen.
The story behind Glendyn Ivin’s debut feature Last Ride sounds as tough and compelling as the film itself. In the film, a lean, tense road movie, we join ex-con Kev (Hugo Weaving) and his 10-year old son Chook (Tom Russell) as they flee 5,000 kilometres across the South Australian landscape, adapting and surviving as circumstances change.
In our own story, we join producers Nick Cole and Antonia Barnard, as they option and adapt an acclaimed novel, attach a Cannes winner to direct, fl ee one state at the promise of more funding from another, shoot for six weeks over 5,000 kilometres in some of the most brutal, isolated and stunning landscape with a major star in tow, adapting and surviving as circumstances change.
The story begins back in 2002. Working as a lawyer after years crewing on productions, Cole optioned the manuscript of the novel The Last Ride by Denise Young two years before it was published in 2004. Although he had directed second unit and worked as an editor, he felt this was one he could produce, and he brought screenwriter Mac Gudgeon in to adapt. By the time the novel was published, the script was taking on a life of its own, with Gudgeon teasing out and adding to the original material.
In 2005, Antonia Barnard joined the developing project. She had just worked on Phil Noyce’s Quiet American as line producer, and as co-producer on many film and TV productions, but had never produced a project right through from development. Both industry stalwarts, they had worked together before. “Nick was my runner in the 1980s and now we share a producer credit,” she laughs.
Then they sent young director Glendyn Ivin the script to read. It was two years after he’d taken home the Palme D’or at the 2003 Cannes Film Festival for short Cracker Bag, and rather than accepting one of the many scripts thrust his way after then, he had gone back to making ads with Exit Films in Melbourne, and was knuckling down on his script for Cherry Bomb, a 1970s heist movie based on a true Australian story. Ten pages in, the script had him.
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