What’s it in regards to the idea of geological time that you just discover so fascinating?
There is a quote from a author named Robert Macfarlane—who’s form of a peer of Andri’s—who talks about how, with the gaze of deep time or geologic time, issues that appear inert to the human eye come alive. A glacier, a mountain, truly do include a life cycle. There are these sorts of patterns and rhythms. And I feel by exhibiting that life drive, there is a method that it acts nearly like a rebuttal to those actually damaging, violent narratives about how the wilderness is a barren wasteland—that there is nothing there. We’re listening to, for instance, that Greenland is that this wasteland, however there’s individuals who have lived there for 1000’s of years. There’s a lot richness and life there. So I feel that geologic time is a paradigm that may articulate that life drive. And to play with it visually and sonically is basically thrilling to me—to indicate that, no, this isn’t a useful resource to extract. It has its personal ontology, its personal life.
I feel wherever we will see ourselves in kinship with not simply nature however our ancestors from the previous and our future descendants, that may conjure a special sense of duty and caretaking—not only for the land that sustains us, but in addition duty to future generations, whereas honoring the previous and the place we come from on the similar time.
I have been considering quite a bit about the way you and your staff introduced the glaciers to life within the movie. There’s some actually unimaginable photos, and I additionally think about it will need to have been a little bit of a problem to seize one thing that’s so large, that does not transfer in a method people can understand. Are you able to inform me extra about the way you and the staff approached that?
I’ve a tremendous staff, each in North America and in Iceland. They have been so expert at discovering the precise places, how we may movie on glaciers responsibly, ethically, and safely. After which I started working with an unimaginable director of images, Pablo Alvarez-Mesa, and an unimaginable sound designer, Björn Viktorsson. We have been actually speaking about this concept of glacial sentience to seize visually and sonically. Pablo, as each a cinematographer and a director, he is so expert at working particularly with water, fog, ice. He was discovering these compositions the place you might actually really feel the movement of the ice and the water, even when the composition appeared nonetheless. However since it is so onerous to understand precise motion of glaciers, the one method we may actually get at motion with out time-lapse photos was by sound. And that is the place Björn, working with this wonderful sound marketing consultant named Konstantin Vlasis, labored with these geophones and hydrophones to seize the sounds of the motion of the ice.
One among my favourite scenes within the movie is the place we’re on this ice cave and also you simply hear these creaks and groans. And Andri, by the narration says, like, “That is how a glacier sounds. You possibly can’t fairly see it, but it surely’s shifting.” And in order that’s how we’re actually making an attempt to ask the viewers into feeling not simply the motion however the aliveness of the ice—which, in a movie that’s in regards to the dying of a glacier, we first need you to know it is alive.
