Any tool can be used for good or bad. It's really the ethics of the artist using it.Collection: Good
In animation, you can often defer decisions or make changes later.
'Pacific Rim,' for me, was a chance to touch on those old Toho monster movies. 'Godzilla' and 'Rodan'... and then 'Ultraman' and 'Robotech' and all those kinds of things.
I certainly have opinions about things, but we're a service organization. Our job is to try and realize the director's vision.
We were in an atmosphere in the household that you could accomplish anything you set your mind to. If you were willing to put in the hard work, nothing was beyond your grasp.
On every show, there's some amount of work that is brought to some state of completion - or even finished - and then cut out of the movie.
As Lucasfilm is developing IP and we're working on our projects, we should be using those films to advance the ball further down the field and to make things better for the rest of the company and the rest of the industry.
When I was a kid, one of my hobbies was as model-maker.
I've been lucky enough in my career to have opportunities to revisit things that meant a lot to me in childhood.
Reacting is so important to the craft of acting.
Eighty percent of my job is to ask the question, 'If this were real, what would it look like?'
When I was a kid, I built miniatures, and that was actually the first thing I did professionally in the film industry. It was a demonstrable skill that I had, so I worked as a model maker.
If you need to do a movie where you have an army of 10,000 soldiers, that's a very difficult thing to shoot for real. It's very expensive, but as computer graphics techniques make that cheaper, it'll be more possible to make pictures on an epic scale, which we haven't really seen since the '50s and '60s.
ILM was the first company that I had worked at that had a computer-graphics division.
I've always lived by the principle of find what you really enjoy doing and make it your career.
Life's too short to be spending all your waking hours doing something you're not excited about. And when people are that excited, you can see it in the work.
Often if a picture is in trouble one way or another, there are ways to salvage it, through reshoots or whatever.
You can hardly turn around and not see something that was done in Photoshop.
Almost everything I've been paid to do was something that was largely self-taught.
It's harder to get your second picture than it is to get your first one.
You have to do what the story demands, but inside of those constraints, I try to inject as much realistic physics as I'm allowed to.
Having been a cameraman, I think about, 'Well, if this was real, how would this be shot?' I try to inject as much realism as much as possible.
When you are shooting traditional motion capture, it's a big footprint on set. There are, like, 16 cameras that are needed and constraints over the lighting.
Ideally, you will never know that you're seeing a computer-generated car.
As soon as you take your hobby and make it into your profession, it sort of kills it as a hobby.
In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
'Baby's Day Out' is maybe not a great movie, but... No, I've enjoyed and learned things from every project I've worked on. That was an important step in my career at ILM.
'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.
I have three daughters who grew up while I was working on the special editions and the prequels. They got to be big 'Star Wars' fans. And, you know, I would see them identifying with a lot of the male characters, and I just thought, 'Star Wars' could use more good strong female leads.'
It's part of the culture at ILM and at Lucasfilm that the work is better when you collaborate, you know. There's this culture of open exchange, a wonderful ego-free sharing of ideas and talent.
I loved movies. In particular, I loved movies depicting places and events that obviously you couldn't have gone out and shot. It was obvious you were looking at something that had been manufactured in some way. I was fascinated by that.
I read a magazine called 'Cinefantastique' that had just come out with a making of 'Star Wars' issue. They had some very long and detailed interviews with a whole bunch of people at ILM. I think I memorized that whole magazine.
There's a shot that I designed to try and illustrate the scale of the Death Star that's sort of framed in close on the equatorial trench as Krennic's ship is leaving. The camera's pulling back, and you start with it framed so you can kind of see those docking bays that are in that trench.
I came in during the era of models, motion control, and optical printers. ILM had just started its own computer graphics division, after the Lucasfilm computer division had been sold off and became Pixar.
There are things that I am nostalgic about from the 'good old days.' I loved motion control cameras, actually. I love the way they sound. I used to do a lot of miniature work, and it's still warranted, but it's done less often, largely for budgetary, schedule, and flexibility reasons.
There's things that you just couldn't do with an optical printer. Now, with digital compositing, most of the energy that goes into a shot goes into the aesthetic issues of, 'Is it a good shot or not?'
I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.
Part of the process is always, 'Is there a better way?' We try to think through if there's something we can do better creatively or technically, or just is more efficient.
The way that Lucasfilm used ILM was George never restricted his thinking to things that he knew could be executed with the tools at the time. He would write what he thought would be cool and what he wanted from a storytelling standpoint with the assumption that, 'Well, they'll figure it out!'
Something we often struggle with on pictures is the right way to shoot live-action elements that are for an environment that's very complicated from a lighting standpoint. An example is a starship flying through an environment that's constantly changing.
Every film tries to advance the state of the art, at least a little bit. Brand new techniques? A lot of them are just evolutionary: we're just building on something that's like something we've done before and just trying to do it a little bit better or make it a little bit more realistic.
A lot of us got into the industry because of 'Star Wars,' and we all have this love of the original source material.
A lot of filmmakers understand that the work is done digitally, and it's technically possible to change it late in the game.
I don't have any particular loyalties to one technique or another. I'm just trying to use the best for the job.
I just have this very simple idea about the rebel spies in the opening crawl of A 'New Hope' who steal the plans for the Death Star.
There was a 3-foot-long model that was built for 'New Hope,' and then there was an 8-foot model that was built for 'Empire Strikes Back.' The 8-foot model and the 3-foot model are kind of different. A lot of the details are different between the two of them.
Imagine a 'Mission: Impossible'-style spy or infiltration mission into the core, the very heart of the Empire's military-industrial complex, the most secure facility in the Empire. You have a small band of experts with complementary skills who, together, are able to do these amazing things.
I started off as a model maker, so the first part of my career was a model maker and then a motion control camera operator, so I shot a lot of miniatures.
If you were a new guy at ILM, they put you on the night crew - my shift was from 7 P.M. to about 5 A.M. In my free time, I was working on an idea with my older brother, a software engineer getting his doctorate at the University of Michigan. Ultimately, it developed into Photoshop.
I've been on lots of movies where we've done a lot of planning of sets - how much you build, and is this big enough, and will this get us what we need? - just with foam-core models.