Collider’s own Steve Weintraub recently got the chance to sit down with legendary multi-hyphenate Kirk Thatcher to discuss his prolific career working in numerous roles throughout the industry. The Emmy-winning writer/director/actor/producer/effects whiz is now known for everything from Muppets Tonight to Star Trek IV: The Voyage Home and, more recently, Werewolf By Night, but during the interview, he also elaborated on his roots rising up through Industrial Light & Magic (ILM). It was there that Thatcher would blossom and meet a friend who would help him kick off his career – David Fincher.
Before he even started at ILM, Thatcher describes his fascination with Star Wars that would one day lead him to the studio. At 15, he’d heard the hype surrounding the revolutionary sci-fi film and made sure he was there on opening day to see it unfold. “So I kind of knew it was coming out, and I went and saw opening day at Man’s Chinese, the first screening, the 12-noon screening at Man’s Chinese, completely blown away and just became a huge Star Wars fan instantly.,” he told Weintraub. Bought the books, including the Star Wars sketchbook by Joe Johnston.” His love for the films would almost immediately lead him to an important industry connection. “So maybe within three months of that opening, my mom came home from church on a Sunday afternoon and said, “Hey, I just met a gal at church, a really nice lady, whose son worked on Star Wars.” Her son was Johnston, then a concept artist and special effects technician for Star Wars: A New Hope.
On this episode of VFX Notes, Hugo Guerra from Hugo’s Desk and Ian Failes from befores & afters are joined by Craig Barron. Barron is creative director at Magnopus, and previously worked as a matte painter at ILM and co-founder and visual effects supervisor at Matte World Digital. Barron won a VFX Oscar for The Curious Case of Benjamin Button, and was also nominated for a VFX Oscar for Batman Returns.
They talk about his amazing career and his work in Zodiac, Casino, Empire Strikes Back, Batman Returns, and so much more, what those original days of matte painting in the optical era were like, and how the transition to digital happened. Matte World Digital’s work on Zodiac, amongst other films, was also discussed in a previous episode.
This episode is sponsored by ActionVFX Black Friday sale. It begins November 25th at 8 PM EST and will end on December 3rd at 11:59 PM EST. All VFX elements in the library will be 55% off the first 24 hours, & 50% off the remaining days of the sale. All Annual Subscription Plans (Individual & Studio Plans) purchased during the sale will receive 2x the amount of monthly elements. Learn more here.
Chapters: 00:00:00 – Intro 00:04:30 – David Fincher and DVD extras 00:05:35 – Craig’s career 00:08:16 – Ray Harryhausen and influences 00:12:08 – Matte paintings in Empire Strikes Back 00:18:13 – Physical correct vs artistic direction 00:32:07 – Matte paintings in Batman Returns 00:34:12 – Casino and the first radiosity render 00:43:37 – 3D projections in Zodiac 00:55:02 – Blade Runner VR 00:59:48 – The Criterion Collection and history 01:07:05 – Patreon, Twitch Subs and YouTube members credits
On this episode of VFX Notes, Hugo Guerra from Hugo’s Desk and Ian Failes from befores & afters dive deep into the visual effects in David Fincher films. We take an especially close look at Digital Domain‘s work for Zodiac and The Curious Case of Benjamin Button.
Chapters: 00:00:00 – Intro 00:04:20 – Zodiac and the rise of invisible VFX 00:09:09 – The rise of D2 and Foundry‘s Nuke 00:18:31 – David Fincher’s methods and Zodiac‘s murder scenes 00:30:03 – Environments by DD and Matte World 00:43:41 – The VFX of The Curious Case of Benjamin Button 00:57:27 – The VFX of The Social Network 01:03:15 – The VFX of Mindhunter 01:09:51 – Wrap up 01:12:45 – Patreon, YouTube members and Twitch Subs Credits