![]() ![]() But just sort of embedding myself with the film crew was a great experience, a great experience. I didn’t know what to make of the script, didn’t know whether to read it as a comedy or a drama, and had plenty of questions about that. And let him bless me for the job.Īnd it was all pretty wild to start. I knew nothing about Luc Besson really and my first job was to read the script, get on a plane, fly to London and meet him. I was actually kind of shocked when they handed me that project. And I of course had tons to learn, but it’s a good place to start. At least that was my foundational confidence, shall we say, my confidence in that sense. So that all led to it not being an unusual transition to go into overall visual effects supervision. And oftentimes I was the first person doing a breakdown on a film: what was going to be miniature, what was going to be matte painting, what was gonna be comp, what elements we needed, stuff like that.Īnd so I had plenty of support in that regard but oftentimes I was the first person to seriously look at a project. ![]() And so what I found is – I stayed with that for ten or fifteen years – was I really ended up fronting visual effects projects in the sense that model construction needed such a lead time that I really needed to sort of figure out the scope of the work. And running the model shop for Doug Trumbull was a huge deal in my world and in the visual effects world at the time. Mark Stetson: I sort of came up quickly through the ranks in miniature effects and I think Blade Runner was my third or fourth picture. ![]()
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