Clinton, Quentin Tarantino, Georgia discussed on Maltin On Movies
And pull down which you don't need to know about so the the ships had the proper blur on them for the speeds that they were traveling which made them creditable if you did that with. Stop motion without the Blur would be here and it just looks like it disappeared Right so that was the depth of field and putting that motion blur on. Were soon things that linked it to our subliminal cues for what's real and what's not and it's like anything else there's so many of those cues you have to be very have to be precise and you have to be to do more. You can't just do a couple of it'll help. But the more of those cues you can satisfy the more realistic or the more willing. People are to suspend disbelief. Well it worked. No no well listen you look at it today. I want. I went through there was we. Were under the gun. You gotta remember that was. I think we took eighteen months from the point at which we opened a facility with built the cameras built miniatures. Did the photography did all the composite. Ing and Completed the show in eighteen months and big shows. Don't get done in eighteen months now but they don't build the camera you also inventing what you were doing. Of course I'm anymore. It just wasn't just a job. It was a job where you had to reinvent. Redefine the tools. Yeah and the and the imagery. We got to harvest a lot of good ideas. That was what was so fun about having people who come from variety of backgrounds One of the guys was a social worker. Another guy was a lab tech. Another guy was a sandal maker. We all came from these odd places. We were all involved in invention and and design and construction fabrication in some form or another in different places but we all came together to do this project and the the great thing about it was that we got to pick the best things from different environments and put them all together in our in our new version of what this machine looked like and there were a lot of interdependent. Stuff I mean. This was like A several bets were made several things that could go wrong. If any one of the concept's right the blue screen the motion blur the camera. Computer control the larger format film? The optical printer that hadn't been used for thirty years all of those were weak links. So if any one of them failed there was a good chance that it could bring the entire thing down and fortunately We got lucky and all of the stuff worked and it. There's there are anomalies and errors in the work. That are really obvious. But the spirit of it in terms of the people who worked on it and Georgia's concept for what it was overcame that it's you know it's the illusion that really counts as opposed to the reality. Sure add to that you know. Great Cast John John Williams music package of course is in the studio. Thought it was gonNA be the kids. They just wanted to keep him happy. Gareth wiggins I think was the only Fox Executive I. I don't know for fact because I wasn't involved in that I was in my warehouse out in the man is exotic than I do was next to the airport. That's pretty good. A lot of wood. Flying out of the airport was good of is. This is a dumb question. I'm sure you've been asked many times before but this is our first conversation on the subject. Is there a shot or a moment or a or an effect in that film that you are proudest of that? That makes you smile and Edmund. The whole film is Great I mean it's interesting. You know 'cause that's a question that gets asked a lot. I don't know that there's I'm not sure that there's a real answer to that. The opening shot is great. It is I. I love that shot. It's is it the is it the essence of everything about the the facility that we built That is is worthy of praise. Probably not but like to shot a lot The experience it was it was absolutely wonderful. I mean I it's it's it's hard to get around The idea that you are working on a job that you are so engrossed with it. You're willing to do it. Twenty four seven under without being under duress. And you know listen. We had our. We have our hot tub in the in the in the parking lot to cool off on hot days and and you know we went. We assume motorcycle rioting and some other things As a part of the program there but It was just it was wonderful is working with your friends and being successful and it is the key element to it with. All of those pieces fit together and they worked at because of their efforts the individuals dedication to making their concept's integrate with the other concepts that were being presented to create the final product and a capital off to academy award. Well yeah exactly. Yeah we did. We got the technical work for the facility The the mind boggles boggled. Then looking back on it. It's it's quite. I was going to get him. You know no one does too. That was drunk in Canada at the award. Show I'm sitting there in the audience and I've been drinking and I'm going and we won. I went Christ guys why my speech was so. I can't even remember what I said and anxious to not remember. Well came away with a lovely souvenir. Yeah no kidding. Distribute that is the epitome of not history. While you're making it because you're just trying different things you guys. We were doing what we enjoy. That was I look at it. If there's anything to be said about your life's endeavor is it. I pursue your bliss whatever that is I mean I've had the good fortune to be able to do something that I enjoy for my entire life. And it's it's terrific. It's a beautiful thing. Yeah this scorgeous In going over your credits doing my homework for our conversation. I did not realize that. You've been working of late with Quentin Tarantino. Yeah on his last three films in fact for four Doing what that's the key. You can't tell you know my favorite kind of visual effects are the ones aren't you don't know there. There's not a lot of a lot of stuff in in Clinton's movies and he wants to traditional stuff the most recent Once upon time in Hollywood and we did some building removal comes in the digital age some fairly straightforward kinds of things We did some aging film for the clips that were from the TV show and from a fourteen fists. Mcklusky the drive in shot where the car drives into. The van is drive in which is obviously no longer. There now has done with a miniature really. Yeah wow well he. He wish all on film we shot a miniature with motion control on film instead of doing digitally That's his preference and the you know inglorious bastards. We did the the big fire sequence in the theater which is really fun stuff. I like to do and something. That's kind of unique I don't know that you naked. I don't know that this job isn't any longer available but One of the things that I used to really enjoy doing is mixing mechanical effects with with photographic effects in the early days. During you know we blew the models up. We had the we had the guys in house and they blew the models up and we photographed him and all that stuff and Since with the advent of digital imaging income positing it's it's become much more specialized in the mechanical effects. Guys have their part of the movie in the visual effects. Guys have their part of the movie they collaborate but the you don't as an individual often get to do you know say well let's blow this up so I got to do that on. Inglorious bastards working with the visual effect the Special Effects Guys German special effects guys and I'm embarrassed to say I can't remember their names at this point At any rate so the whole business in the theater at the end and the fire was he wanted to practical so we had to figure out how to project in image onto the screen. Have the screen burn synchronize. The speed of the fire with action on the screen had had to the fire had to go over her image at a particular point and that had to be done practically in an environment where once screen burned it revealed an inferno behind it and there were stump people in the theater in the seats while this is all going on all took place in an abandoned cement factory in East Germany. And it was it was it was just. It was great. 'cause we went through the process of figuring out how to make the screen burn at the proper rate how to ignite the screen. How to synchronize the IGNAT ignition to the screen with the film that was being projected how to to Meggett so the inferno didn't burn the screen from behind and how to secret is that infernos looked like it was already a light as the screen burned but to not have it burning before that transmission transition took place so it was this. It was integration of mechanical and visual and performance stuff and it was like as brilliant and that was what the stuff was for Star Wars. So that's why I enjoy working with Clinton because we get to do that kind of thing. How cool very very cool is now. I grew up watching old republic pictures serials. Yeah and so the lie decker brothers were heroes of mine. Howard and theater the guys who did all of their practical yeah and their optical effects too and so the one thing I learned. I made a few home movies when I was a kid with my friends. And they'll our eight millimeter camera and the two things that I learned from experience and from watching with the the toughest things to crack our fire and water. Sure 'cause if you shoot a a A vote in your bathtub. It looks like a boat in a bathtub. Exactly it's not looked like it's in a body of water right and if you light something on fire it looks like it goes up and it looks like you just let something a road flare. It's for the road at the back of it and smokes going up in the road for spitting Now just just before we We rolled on this conversation. I mentioned I worked at paramount for many many years. And they have a famous tank there with Sky Cyclorama behind it one time and I used to park in that tank and one time. We couldn't park there for a couple of weeks because they were flooding the tank. So that you and your crew could shoot right irritation of central Park Lake. Yeah for Stuart Little. Yeah you had a little boat sailboat. Your against a real sky backdrop very convincing sky backdrop and real water. Yep Talk about detail wagging the dog. It's a tiny little boat an acre and a half of silk which was used to cover the tent. And that's no Phoolan. It was like being on a boat. We had rigging in the overhead and the SIL which dis- diffuse the sun because it needed to feel like The sort of a high sky. A clouds didn't Wanna be hard sun and That tank was Setup and I'm trying to remember I think we had now which is how to take. We didn't have. We had a bridge on one side or something. There was some set-pieces anyway. The boat is like about six feet long but the boat had to travel specific path in the tank. They had to have a wind blowing sale. So it looked like we're outdoors and it all sounds fairly simple except that the boats thirty feet away and to try and make a fan blow thirty feet and fill the sales. It's like well that's not going to be so easy. And the boat of course was already to control boat and you couldn't ever make a radio controlled boat. Do what is you wanted to do? So tracks had to be built in the bottom of the tank and there were guys with scuba gear in the tank during the photography. It was like it was so funny because it was like this giant thing around this little boat. They'll six foot boat and again six foot not so little no well. Yeah that's true. It wasn't but it was big. It was a that was the that was the hero boat. The stuarts boat was like three feet or something something like that anyway. Like to work with us. He a diva and I'm really. That movie was that movie was great. I love it. I felt the character was. He was really developed all of the acting performances regret and Sony. That was their one of their early entrees into visual effects for movies. Did a terrific job..