Hayler, John Dykstra, Lukas discussed on Gilbert Gottfried's Amazing Colossal Podcast
I'd seen in. Uh-huh. Yeah. The LA times I can learn that he had a brief. And but then, you know. Star wars. I heard about Star Wars, and I just pushed to get on it and manage to find it's people to talk to out there. How did how did Star Wars and Lukas show up on your radar? I was working cascade right before cascade closed up. And we sold the camera. We were like trying to consolidate to somebody who wouldn't say where he was working, but it turned out that he was working on Star Wars. And they were just starting the setup the animation department, and this one animated camera, and then a couple of friends of mine went out and actually heard an inter interview Jordan interview, they interviewed with George about working on the show, and they were stop motion guys, and and overall effects guys really good Jim Danforth and built Hayler and George said, no, no. I don't wanna go this complicated way. I'm gonna I don't mind throwing the models in front of the camera or sliding him now wires or something that's the way we're going to do. We don't have the money. So they went away and I'm friends with him. And they told me about it. And I thought oh, that's just too bad. You know that never gonna work out. And then, of course, everybody else in town said the same sort of thing said it was impossible the people that they. Talked to then they go with John Dykstra who comes up with his revolutionary expensive time consuming idea the change the industry. So they ended up having to go with new technology. You know? I just followed it. Yeah. The rest of the history, and then all that's like sort of obsolete wants computers came in. I mean, nobody talks about that motion control anymore, and how it really changed the industry. Do you think there's going to be a day when his going to you'll just make movies with no actors and no location shots because it could be done by computers. Still composers. No, you know, auto compose to that's all coming. I think it's probably they're based on the color the scene or the let's write my scores. Let's. Phones. Anyway, gill. Yes, it is. And it's happening right now. Right, and they're animated films, but you never gonna you're never gonna get the personality of the people. You're never gonna get the voice flexes ever gonna get the reality. Sure. You can do it that. And that's not the question. The question is should you do it for certain stories. You know, if you're trying to really feel something with people you wanna look at a fake image. Or do you want to look at the real person there, you know, in a relationship that is just breaking your heart. You know, far more than an animated character ever good. What what is this? I don't think I saw an interview with you Dennis. You were talking about the three d design adding three d to two d movies that you saw test with blanquita. Yeah. Yeah. Casa Blanca, Roger rabbit, you tell us about some others film. Wow. No. I forget the company that did it. What were they doing? Exactly. What were they what what were they doing exactly the demo reel they'd put together? And they they had like two minutes scenes. From these big movies. They had added, you know, post to d and they're doing a lot now or three d two two movies. See it all the time now, and it's mostly not done. Right. So it looks pretty bad. See the three d but they did it to sort of sell the industry on it. And it kinda worked and people started doing it. You know, and they were really neat. They did it much better than than most of the conversions are being done now. And I I really enjoy three d if it's done, right? But as far as I'm concerned, nobody's doing it. Right. And it's hard to explain why. But it's I did the two three conversion on the on episode two in three of Star Wars that have never been shown they were going to release them. And they never do..