Recently I was asked by my longtime friend, fellow Vancouver Film School grad, and producer-director-film critic (he does it all, folks) Paul Booth to do an interview with him for the online film site Influx Magazine. I've included a link to the full article at the bottom.
"Josh Lange has worked on some very impressive video games and he’s been part of some amazing studio pictures. For me, it’s Josh’s integrity and consummate professionalism that made him an ideal candidate for this series. Josh also has a respect for movies of the past and present before Star Wars or the prequel trilogy. We live in a time of cinema, where many people don’t respect the past. Josh knows his stuff.
Paul Booth: What films or life event made you want to make movies? Past just loving movies?
Josh Lange: The worlds and characters of the original Star Wars films triggered an intense fascination and passion in me early on when I was a kid. As my connection to those movies evolved, I began to learn about the methods developed by George Lucas and his visual effects crew to make their groundbreaking special effects. Since the visual effects were what really made those movie stand out, I started looking at other filmmakers with high standards for the field, such as Stanley Kubrick. I was also in love with the films of Walt Disney as a kid, and as my interests began bouncing between art, animation, movies, and visual effects, I started making small films and taking film courses through the local community college while I was in high school. Senior year I was officially hooked, and it was only a matter of time before I entered film school."
Link to the full article on Influx Magazine.com
Showing posts with label writing. Show all posts
Showing posts with label writing. Show all posts
Friday, August 23, 2013
Friday, August 19, 2011
Food for thought
An Open Letter to Andy Serkis
I like the points the author makes. I think Serkis is right in thinking that despite all the CG people that work with his performance after it has been captured aren't as deserving in the credit as the original actor. It is semi-akin to the fact that there is one director credit despite the fact that directors have second units who literally help him or her make the film. It is strange to see how clumsily Serkis explains the process (I wouldn't assign him the motive of intentionally downplaying the work the CG team does, however).
I like the points the author makes. I think Serkis is right in thinking that despite all the CG people that work with his performance after it has been captured aren't as deserving in the credit as the original actor. It is semi-akin to the fact that there is one director credit despite the fact that directors have second units who literally help him or her make the film. It is strange to see how clumsily Serkis explains the process (I wouldn't assign him the motive of intentionally downplaying the work the CG team does, however).
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