USC, Goodchild, Kmart discussed on The Cinematography Podcast
Or go to columbia. You go to kmart you could buy as much as you. Can you know something. Some of the film was cheaper stuff in summit with the kodak stuff was the really great stuff. Yeah so you just really go out and just shoot as much as you could. And we'd end up with these reels and we bring them back and show him and have fun with them. So what you were doing at that point between the ages of like thirteen to nineteen. That was enough to make your mother think that you might pursue this to send you off to usc yet she. She thought that because you know my dad was very strict he he was much older. My mother in he came through the depression. He was very Like goodchild is seen heard and and he. When i'd get out a school he'd come down to the doctor's office and sit in the waiting room and on in the waiting room so he could look down through the hallway from his chair in his office. In watch me study because the head be observed her. I couldn't possibly do it on my own. So that sort of thing and my mom is always the creative type and she always believed in me and it was like you can do whatever you want to do. And then you go out and do good things. This is like nineteen seventy six. He said yeah. That's when i went to. Usc was in nineteen seventy. So what was it like here. In nineteen seventy six. The cars were different. You know there was. There wasn't near as much traffic. I moved here in eighty eight permanently in the traffic. It was not that bad when i moved tornado eight. Now it's horrendous you know yeah. There were some things that were here then. That aren't here now but the cinerama dome is still here. I saw logan's run when it was released in the cinerama dot. Org that's cool. That was pretty cool. Cody was there. I remember going to l. cody. And but i stayed in the dormitories down in at usc and of dorm call marx tower. Which in the actual cinema school was in a little plywood hut out in the middle of the park in between marks tower. In place it was it was around sort of donut. Shape building in the center was a courtyard and it was basically the that was the cinema school of that time. They hadn't built the big fancy when the him now and they had areas alexis and things like that and so we go in. Check those out and we could shoot things with those and two days a week. We'd go to universal and we go. We went to albert whitlock s- workshop where he talked with us about how you did. Like eighty five percent of the hindenburg with glass shots. Wow and he showed his glass shots from the birds and from a lot of different movies he was originally from england and they had him up in an attic in one of the stages in universal and that was his workshop and he was up there with the mitchell cameron. He'd he'd sit there and eat paint away. He do these glass shots. Matte paintings i now. He's kind of lost art now. Oh he was like the best he was like. You know now they do digital matte paintings but at that time it was a real sheet of glass and he'd bring it out on the set and he wanted up and look at it and paint and just the parts needed. And then you'd leave the rest of it clear so that you could shoot threaten. Do these things and yeah. This was back when special effects was a real hands on art yet. I answer like pre industrial light magic. Even oh yeah much before that and they still use optical printers and then people started computerizing these printers and there was a company in atlanta..