Star Wars, Film School

Last night I was forunate enough to attend a triple bill screening of the original Star Wars trilogy at the VanCity Theatre. This was the first time I was able to see all three films back to back, and on the big screen. The night started with an introduction by Dennis Murren, who worked on all six films as part of the Special Effects team. A New Hope started at about 7:30PM, and Return of the Jedi finished shortly after 2:30AM. Fox shipped restored 35mm prints (beautiful!) up here for the Spark FX Festival currently in town. I hadn't seen the film in quite a long time, so it I found it amazing the amount of information I took in this time around. I'm not sure if that is due to my eye for filmmaking now as compared to last time around, or the effect of the big screen, but I think it's probably a bit of both. I noticed a number of beautiful shots in Empire that I'll have to post later. I also whole-heartedly agree with most fans now, that Empire stands strong as the best of the six films, something I never gave much thought to before.

I truly believe that films are meant to be seen how the filmmakers themselves intended: In a dark room, on a large screen, with a fully attentive audience. The ambience of such an audience appreciates the movie going experience immensly, but that sort of thing is, saldy, almost non-exsistant today. But that's another post. Anyway, any time I get the chance to see classic films on the big screen that were before my time, I jump at the opportunity (Looking forward to The Godfather 2 next month!).

I've been reading a lot of books on filmmaking and animation lately, and subsequently watching a lot of films, both old and new. I plan to post about the books I've read and films I've watched, as well as my notes, but I'm just so focused right now that I've been neglecting to post. I guess I'm putting myself through a sort of self-educated film school. The best kind really, I'm having such a blast.

Siggraph: Sharon Calahan Comes to Vancouver

Last night Siggraph hosted another local chapter event entitled, "Teasing the Senses," featuring Sharon Calahan, the Director of Photography on Ratatouille at Pixar. This was perfect timing. I had only just read The Art of Ratatouille, and Sharon's work was fresh in my mind for this presentation. It's was also just days before Wall E will be released, and I'm sure I'll be buzzing after I see that. I can't wait!

Sharon, despite her admitted nervousness, did a fantastic presentation. She showed us her process, and the way she tackles every new project, trying to make it different every time. A painter at heart, she's on a four month leave of absense from Pixar in which she just paints every day. This reminds me of the Lou Ramano episode of Toon In, in which he talks about taking regular leaves of absense to explore his artistic education more. Pixar sounds like such a wonderful place to work. The more I hear, the better it sounds.

Sharon went through her research process, showing us pictures from her trip to Paris with Production Designer, Harley Jessup, who's work is also heavily featured in the aforementioned Art of book. The two walked everywhere to get a feel of the city for the movie, and brought back a lot of really nice photos.

She went on to describe how they wanted the movie to look from a lighting standpoint from the very beginning. She said she's a pure spot lighter, a self professed, "control freak," and she doesn't like using global illumination at all. Adding that the lighting of the film was geared towards making the food look good first, and everything else was taken down a notch here and there respectively.

A list of her, "Lighting Army," flashed on the screen for a few minutes. Long enough for me to pick out Jeremy Birn from the list of forty or so lighting artists. Jerermy is the author of, "Digital Lighting and Rendering." I remember reading through this book when it first came out about ten years ago. This was when I was first getting into computers, and thought that becoming an animator meant learning software. Sigh...Anyway, I had no idea that he was at Pixar now, but I'm not surprised. This memory, along with the presentation as a whole, made me realize that I really need to brush up on my knowledge of Cinematography. Sharon listed off so many films she used for inspriation because of the cinematography, and I was pretty impressed. I really need to start mentally cataloguing these things for my own film ideas.

The presentation went on for about an hour, after which was a book signing, and a screening of Ratatouille. I didn't stay for the screening, but I did manage to get my book signed, and shared a few words with Sharon. I asked her a question I've always wondered, but never been able to find the answer to. I've read, and heard much of the directorial switch on Ratatouille 18 months into production. And in the Art of Book, Brad Bird says he felt uncomfortable about taking over the project at first. So I asked Sharon, "Why was there a directorial switch?" Call me intrusive, I could only assume it came don't to story complications, but I just had to know for sure. After a brief conversation about the brilliance of Pinkava, she bascially answered, "Brad's a heavyweight." Pixar does whatever it takes to make a good movie, even if it means basically doing it twice (Toy Story, Ratatouille).

Siggraph: Syd Mead Event: Visual Futurist

Last night I had the pleasure of meeting one of the most highly regarded conceptual designers in the world. Siggraph hosted an event featuring Syd Mead; The conceptual designer behind the such stylistically futuristic blockbuster films as Alien, Blade Runner, and Star Trek to name a just a few. I quickly learned that his portfolio includes not only film, but architecture, vehicles, toys, and a myriad of other items that can be made to look futuristic. I must admit a little naivity on my part, as I was hard pressed to pin point how I was familiar with the name, "Syd Mead,"before this event showed up in my inbox. Shortly after the presentation started I was reminded that I had watched a few Gnomon DVDs featuring the design guru a few years back. I'm not big into conceptual design, but I am interested in every aspect of this industry, and respect all the artists within it. Conceptual design is a field that required a tremendous amount of imagination, and creativity. And I always love learning about what makes successful artists tick.


Highlights from the evening were Syd's dry humor, the Q&A session, and the screening of Blade Runner: The Final Cut after the presentation. I wasn't going to pass up the opportunity to see Blade Runner on the big screen. The last and only time I saw it was during film school, and it was one of those nights where I was completely fatigued, but too wired with thoughts to go to sleep. I watched it on my computer, and I remember wondering, "What's the big deal about this movie everyone is praising?" Needless to say, I didn't have the best viewing experience back then. And if there's one thing about watching movies that makes them ten times better, it's the environment you watch them in. Check out your local Siggraph chapter, and don't pass up the chance to see this beautiful film full scale on the silver screen.

A fun fact from the night. When asked what movie he wished he had the chance to work on, but didn't, Syd quickly replied, "Fifth Element."

Droidmaker

I just got back from, Droidmaker: George Lucas and the Digital Revolution. Michael Rubin is on tour promoting his latest book of the same name. Droidmaker is essentially the first true and complete account of how Lucas and Coppola basically revolutionized not just the film industry, but our technological generation. After watching the presentation I was reminded of just how many of todays modern luxuries can be attributed to these two film makers.

It was a good show, and Rubin was very energetic and entertaining. He's a great storyteller, as he ought to be, promoting a book and all. He was accompanied by Dr. Alvy Ray Smith, one of the founding fathers of the Lucas Film Computer Division that eventually became Pixar.

The best part about these presentations is learning about personal relationships and stories of struggle and adversity, with pay offs. That's an understatement in the case of George Lucas and Francis Ford Coppola, not to mention Smith, Catmull, Lasseter, and all the rest of the Pixar founders. It was quite an immersing experience, and I recommend you take a look and see if Rubin is on his way to your home town in the near future.

I was already familiar with about 80% of the content of this presentation, which is why I didn't buy the book (which you should buy if you are not familiar with this story as I was). But a couple of things I wasn't aware of was the survival of Pixar (financially) because of Steve Jobs inability to admit failure publicly, how Dr. Smith and his colleagues came up with the name Pixar, and how they reluctantly ended up giving their new company (separated from Lucas Film) the same name. And can you guess how Ross Perot is connected to all this? Check out the book and you'll find out...

Take a look at Rubin's blog, and the official website for more information.

Andrew Gordon Master Class

I'm debating on whether or not I can afford to attend the upcoming Pixar Master Class with animation veteran Andrew Gordon. It's not often these guys come to Vancouver, at least not to teach. I'm already spending every penny I have on AAU, and I'll eventually get some class time with other Pixar vets. But the thought of doing so at the end of the month as well as at the end of my degree is just too good to pass up. It's really testing my patience. I usually cave and dig myself deeper in debt in these situations, but why have a dream if you don't pursue it relentlessly?

Time will only tell if I cave.