Whats your background in visual effects, and how did you get into it as a career?
Ive been nosing around visual effects for a while.
So are you more on the digital side of Visual Effects, rather than the model-based, hand-made side?
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Im definitely a child of the digital age.
Trying to sort out how to solve problems.
Well, the VFX Supervisor is more of a general title.
And how does your role as a second unit director work in all of that?
That role changes from picture to picture.
Usually, they trade off an exotic futuristic feel for any visceral sense of reality.
How did you approach that?
Was there much pressure?
Did you work with Stan Winston and the more handcrafted effects team?
Very closely, and I was so happy that they were on the show.
I felt like they had two major responsibilities.
You just cant beat that!
For us to do that digitally, it doesnt feel right.
So we always needed to know exactly how a proper Terminator would look under those lighting conditions.
So we photographed them, and we had them there for the actors to work with.
Just, for everyone to see to have that visceral reality there!
Its those imperfections that tell us something is real.
Speaking of reality, and the use of CG.
Where do you see VFX going from here?
IsAvatarthe next big thing?
Avataris the next big thing!
But I see three different directions for VFX.
And theyre there every day, looking at the work of the artists on the screen.
And thats what Im paying to see its not any particular piece of technology.
And Gores doing a movie now with ILM calledRango, and he has a similar level of involvement.
Thats not the way all movies get made!
Just like people are doing music in their garage, I think well see the same sort of thing.
Both of those are exciting to me, and Ive seen scripts for really sophisticated films.
You know, real funny, social satires, that are high concept visual effects films.
That would be a fascinating development, indeed.
Thank you for your time, Charlie!
