I’ve always been fascinated with hunting and boys hunting rabbits in particular, because I did a lot of that as a kid living in the country. Last Ride opens with a sequence of a little kid hunting a rabbit and I don’t know how it happened, but Gallipoli now starts in a very similar way. It’s very different, but it’s not something I went “Hey, I really want to do this!”. I think all those things are in stories but where one director might read it and think “Oh ok, he's going to go off and hunt rabbits”. On my radar it’s like that sentence is in bold and in capitals and it’s flashing on and off on the page, “What do you mean? He hunts rabbits! We’re going to make a whole sequence out of this!” So it grows and you pull out the things that you’re interested in. Ultimately they’re the things that become very symbolic, almost spiritual in story telling for me. There’s something about innocence, and the loss of, and there’s so many stories about that, and I'm interested in it at a core level. If you look at everything I’ve done, it’s always there as the underlying theme.
http://www.screendirector.org/post/2015/01/09/glendyn-ivin

I’m definitely a visual person, but I think about and love working with sound more. Sound to me is the ultimate. And I’m sure I make films so I can play with sound, more than play with images. I’m always thinking things like “How could I make a film that feels like Radiohead’s ‘In Rainbows’, or Alice In Chains’ ‘Would?’?” Can you make a film like a song?
Werner Herzog inspires me. I see him more like a father, than a filmmaker.
“Last Ride” in particular was inspired by the landscape in which it was filmed. The deserts and endless roads of Southern Australia.
http://www.indiewire.com/2009/09/tiff-09-glendyn-ivin-i-knew-ten-pages -in-that-i-was-going-to-make-the-film-69936/