Jurassic Punk (2022) - Video Dailymotion

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00:00:00www.mesmerism.info

00:00:30Oh, it's exactly what I have, but it's a medium. I don't think it's going to fit.

00:00:36Neal large?

00:00:37Yeah, minimum.

00:00:41I can't wear a shirt unless it has a stain on it. If you wear a shirt that doesn't have a stain on it, it's not a shirt.

00:00:49One of the biggest problems I have is my memory.

00:00:54I just want to forget everything.

00:00:58Unfortunately, I can't.

00:01:00You raised her.

00:01:02The past haunts me.

00:01:06Do these animals deserve the same protections given to other species?

00:01:11Or should they just be left to die?

00:01:17These creatures were here before us.

00:01:19I guess Netflix was doing a thing on Jurassic.

00:01:26They want to hear the real story.

00:01:29Not a revisionist history version.

00:01:31We're in C Theater at 3210, Kerner Boulevard, San Rafael, California, the old ILM facility.

00:01:41And this theater is where we projected every single one of the shots that we knew was going to change the entire film industry.

00:01:48When the T-Rex took a step, you had a secondary jiggle.

00:01:57So I had separate channels of animation of literally a digital bladder hung off the hierarchy of the leg so it shook on the bone.

00:02:05So if the bladder shook, the outside control vertices shook as well.

00:02:09So every time the Rex took a step, you had to have a massive amount of shake of this muscle.

00:02:14A lot of people are always referring back to it being the best of all the Jurassic.

00:02:18Now what is it? World domination of everything.

00:02:21I mean, the Gigantosaurus, that's the latest one.

00:02:24It was like three times the size of the Rex.

00:02:26It is? Oh, I better go see the sequel.

00:02:28Why don't they just merge Star Wars and Jurassic together and come up with one big mega movie?

00:02:33You know, it's like dinosaurs in space and everyone's shooting each other, you know?

00:02:42I'm naive, I guess, when it comes to a lot of stuff.

00:02:48And you get burned, you know?

00:02:52You get burned.

00:02:57Things are so simple now, right?

00:03:01Looking back at the ILM days, it's almost like it was a weird dream.

00:03:08Even though I was using machines as a tool back then, I myself was stuck in a machine.

00:03:14And this whole thing about blind curiosity, trying to A, prove it to yourself,

00:03:20and B, you know, prove it to the world, you can do something.

00:03:24Little did I know.

00:03:26You know, it created a monster.

00:03:27And joining me now in the studio is the chief animator at Lucasfilm, Stephen Williams.

00:03:35George Lucas' industrial light and magic company.

00:03:37The folks who provided special effects for Star Wars is going commercial.

00:03:41These hummingbirds are not real.

00:03:43Animator Steve Williams sketches out a line drawing on a computer screen.

00:03:47It was never Steve's intention to combine his classical animation training with computers.

00:03:52But now colleagues marvel they've never seen anyone create life so realistically.

00:03:56It was not biotechnology that brought the dinosaurs to life in Jurassic Park.

00:04:01Animator Steve Williams used a computer to bring the T-Rex to life.

00:04:05The Universal Studios picture could generate as much as $50 million this weekend.

00:04:10Other studios in town will not open any of their pictures against it.

00:04:13Williams is one of the hottest computer animators in Hollywood.

00:04:16Spreading his message that computer animation is about art, not technology.

00:04:21Just because you're using a computer doesn't mean it's going to be good.

00:04:24I mean, is there anything that worries you about this?

00:04:26Oh yeah, I think it's pretty... I don't think it's a good thing, but it's...

00:04:29Well, so you're sort of like Dr. Frankenstein.

00:04:43Everybody thinks that chaos is completely random.

00:04:46There is no such thing as random.

00:04:51Every single variable is calculatable.

00:04:54And math is nothing but a language to try and describe what nature already knows.

00:04:59We're so steeped in the rules, so when you think differently, you're seen as a heretic.

00:05:09I knew I was different.

00:05:23You know, I knew it.

00:05:25I've always been different.

00:05:27I had visions about how things are going to be, and not should be, but just are going

00:05:35to be, especially about, you know, synthetic imagery.

00:05:40Here's the low-resolution data of the T-Rex.

00:05:43You'll notice these points here where each one of the bones were.

00:05:46Jurassic Park storyboards.

00:05:49SS approved.

00:05:50I mean, Steven Spielberg approved.

00:05:52JC-4.

00:05:5375 frames.

00:05:54Took me four months to animate this shot.

00:05:55Here's somebody that was fundamental at that time in the progress of this disruptive technology.

00:06:08But the way that I know him now, he mainly likes to blacksmith, and we end up hanging out

00:06:13in the shop because he likes to get his hands dirty, just like I do.

00:06:18We all called him Spaz.

00:06:20Now, calling Steve Williams Spaz was a nickname like that giant guy in high school that everybody

00:06:28called Tiny.

00:06:29Hey, Spaz.

00:06:30How you doing, buddy?

00:06:32That character with the pocket protector and the thick glasses, he was the opposite.

00:06:38Here was a motorcycle-riding, leather jacket-wearing guy, who's the first one that I ever met

00:06:47that was an artist who had computer and high mathematical skills.

00:06:53Like Michelangelo, took corpses and dissected them.

00:06:57Spaz is a guy who kind of dissected life a little bit.

00:07:01I was just amazed by how things worked.

00:07:04My whole life I was driven by how things worked.

00:07:06Cartoons deviated from the rules of the way nature operates.

00:07:11It was sort of questioning convention.

00:07:14You're questioning reality.

00:07:16You've got that going for me.

00:07:18You've got that going at me.

00:07:20Sheridan College in Toronto.

00:07:22All of us are misfits.

00:07:24We didn't think conventionally.

00:07:26We were these like these strange artists.

00:07:29I decided to take classical animation.

00:07:31Then I took computer engineering, University of Toronto.

00:07:34Then I joined a company in Toronto called Alias, using computers to do animation.

00:07:40No one really thought about it that way.

00:07:42They thought it for data processing.

00:07:43They didn't really think about it for actually animating.

00:07:46I was attempting to try and replicate the real world in the synthetic environment.

00:07:50There was very few people in the world that knew Alias, three-dimensional computer graphics, back in 1988.

00:07:56I was working on a system called the Sea Whiz.

00:07:59It was a Gatling gun that, for the most part, sat in Iowa-class battleships.

00:08:04The simulation I was working on had the fluorocarbon cooling system.

00:08:07ILM, Industrial Light and Magic, got wind that there was somebody that actually knew something about fluid dynamics.

00:08:14They're working on a movie where there's a water creature.

00:08:18Now you see water doing things all the time.

00:08:21But back in the day, you said, well, it's going to be water that comes alive.

00:08:24And then the face comes out of the water.

00:08:27People would just blank out.

00:08:29It was a big question mark for everybody.

00:08:32What Jim had seen in computer graphics up to that point was all the other prior films that had used computer graphics,

00:08:38like Last Starfighter and Tron, even young Sherlock Holmes.

00:08:43CG had an artificiality to it.

00:08:46We were looking for a photo-real thing.

00:08:48His previous films, Terminator and Aliens, they were about thrills and action.

00:08:56They were not about just a straight sense of wonder.

00:09:01He really wanted to show that he could do that.

00:09:04We clearly needed additional talent.

00:09:07And we found Steve Williams.

00:09:11The quality was paramount.

00:09:14If we were going to be successful, this stuff had to be not just good enough.

00:09:17It had to be great.

00:09:19It had to be convincing.

00:09:20It had to be something that ultimately no one had ever seen before.

00:09:26So I ended up at Industrial Light Magic, and I got hired in October of 1988.

00:09:32We were chief animator on the Abyss.

00:09:34We had two machines, a Silicon Graphics GT60 and a GT80.

00:09:40The first thing I had to do was figure out how to animate the spine of the pseudopod.

00:09:45The water weenie was the nickname.

00:09:47Everyone's looking at us.

00:09:50If we failed, it would have been a tremendous setback.

00:09:55I was the first PhD at ILM in the subject of computer graphics.

00:10:00We didn't have a lot of office space, but I got put in this thing called the pit, which was downstairs.

00:10:06It was a sound room.

00:10:07And we turned into this kind of wild, wacky office.

00:10:09Spaz was put down there, too.

00:10:12My first impression, he walks in, he's got like a tight white T-shirt, crew cut, Dudley

00:10:20Do-Right chin, old school jeans rolled up at the bottom when wearing engineer boots.

00:10:23It's like a 50s biker thing or, you know, this kind of strange macho Canadian thing or who knows what.

00:10:31And there's this fucking hippie.

00:10:32And I'm thinking, ah, goddamn fucking hippie.

00:10:35Goddamn Californian.

00:10:36And he's got his feet on the desk.

00:10:39And playing on the stereo, Alice Cooper, love it to death.

00:10:43That's the first fucking album I ever had.

00:10:46And he goes, that was the first album I ever had.

00:10:48And that was it.

00:10:49Game over.

00:10:50We hit it off right away.

00:10:52I mean, it's funny, even though we're very different.

00:10:54We like to have fun.

00:10:56Have fun, be fun.

00:10:57That was our motto.

00:10:59We were outsiders only because we had this technical animation solution.

00:11:04But we hadn't really worked on films.

00:11:06My job, you know, was to try and figure out the nuance of the animation.

00:11:11Mark had come up with this code that would allow us to put little sine wave distributions over the surface to create a rippling effect.

00:11:17How to take surfaces and make them undulate like they're water, even though they're tubes.

00:11:22That was a big pain in the ass.

00:11:24We had to just find solutions.

00:11:27Jim sent us back scans with the video we had just drawing on it with a marker.

00:11:32He faxed them.

00:11:34Ultimately, we were able to accomplish what Jim was looking for.

00:11:38Cameron had said, had that scene failed, he would have just yanked it from the entire film.

00:11:43But it ended up being one of the premiere scenes.

00:11:45And everybody looked at it and went, how in blazes was that done?

00:11:49And that's where the deal changed.

00:11:53I knew darn well this would be the best that I would ever do.

00:11:58Ever.

00:11:58I just knew that there wasn't going to be any more creative hurdles.

00:12:03There would be anything like what we were doing at ILM.

00:12:08When you grow up in Canada, it's like you grow up with eight colors.

00:12:15Okay?

00:12:16So you have to learn how to design and draw and paint with these eight colors.

00:12:21When you come to the States, you're instantly across the border given 20 colors.

00:12:28I have earned it myself.

00:12:30It blows your bloody mind.

00:12:34You can have a 65 Cadillac without any rust on it.

00:12:37Engines.

00:12:38Gas.

00:12:39Bullets.

00:12:41Beer.

00:12:41Everything.

00:12:42Just like that.

00:12:42Snap.

00:12:43Everything's a half an hour away.

00:12:44It's great.

00:12:45It's like being in Disneyland.

00:12:47One.

00:12:48One gun.

00:12:49In America, anybody can do anything.

00:12:56All you have to do is put in the dedication and the sweat, and you can get whatever you fucking want.

00:13:02That concept didn't exist in Canada.

00:13:06Growing up in Toronto, you're growing up in suppression.

00:13:12You're growing up in bureaucracy.

00:13:15You are not qualified to do this.

00:13:17The prime minister at the time was a guy named Pierre Trudeau.

00:13:21And Pierre Trudeau said, if you don't like it here in Canada, move somewhere else.

00:13:25So I said, okay, fine.

00:13:27I'm gonna.

00:13:28And I did.

00:13:31So this is the original mouse pad that I used to build Terminator 2.

00:13:36I was there so much, I ended up wearing out the pad.

00:13:42Pretty funny, eh?

00:13:43The pseudobot sequence was a validation that this was a technique that had a lot of promise.

00:13:51But it took Jim Cameron on his next film, Terminator 2, to kind of take it to the next step of what you could do with it.

00:13:59The abyss encouraged me to take it a step further, or many steps further.

00:14:09He knew to try and push it, and that was the good thing about Cameron.

00:14:12He pushed it.

00:14:13He believed in it, even though he didn't know the technology or the technique.

00:14:16And he let myself and Spaz and everyone run with it.

00:14:23Everyone's neck was on the line, including his.

00:14:27The biggest technical challenge was building a human in data.

00:14:32It hadn't been done before.

00:14:33Robert Patrick is the T-1000.

00:14:36We're gonna study his body.

00:14:37We're gonna watch his movements.

00:14:39We're gonna find a way to capture his quality.

00:14:42There was no motion capture back then.

00:14:44So Mark and I thought, okay, well, let's do what Muybridge had done.

00:14:48Put a grid, but not on the background, but a grid on the guy.

00:14:54The day I got cast, I'm flown to wherever the hell ILM is.

00:15:01Spaz and Mark started painting these grids over me.

00:15:06And I had no idea what the fuck they were doing.

00:15:09Pardon my language, but, you know, they're animators.

00:15:11I don't know what they're doing, but they seem real interested in what I'm doing.

00:15:15All right.

00:15:15Oh, man, oh, man.

00:15:17I'm one of the biggest of you.

00:15:18No, no, you're not.

00:15:19Yes, sir.

00:15:20I could have been a team.

00:15:21You can only pray to have lines like that.

00:15:24I think it's the only time we're ever gonna see you with a smile, Robert.

00:15:28That's right.

00:15:29He's out of care.

00:15:30Mark and Steve were so inquisitive about what was I thinking?

00:15:35Where was I getting these ideas?

00:15:36If you're my target now, my left leg, my hip would drop back, my hip would lead me, and

00:15:42then the target's there.

00:15:43Gotcha.

00:15:44Immediately, it clicked with them.

00:15:46We had, like, our own theory, our own T-1000 talk, our own jargon.

00:15:52And they were kind of close to my age.

00:15:55And I could tell they were young and eager, trying to make a name for themselves as well.

00:15:59We were all pretty passionate.

00:16:05And I remember thinking, T-2, man, it's a whole nother level up.

00:16:10The walk out of the fire, the first unveiling of the special powers the T-1000 had.

00:16:20The first take I did, I went in there and I could smell my shirt burning.

00:16:24I could feel it on the back of my ears.

00:16:26My ears were getting singed.

00:16:27The first shot I had to do was CC-1 walking out of the fire.

00:16:31It was 375 frames long, fully skinned, walking, T-1000.

00:16:36I remember shooting that.

00:16:37I remember everybody being frustrated.

00:16:39I remember me being very frustrated because I thought I was fucking it up for everybody.

00:16:44I think we did, like, 27 takes or something.

00:16:46I don't know.

00:16:47I do remember that day, Jim and I sitting somewhere in that canal, off to the side of the shade.

00:16:54I think he could sense how frustrated I was.

00:16:57And he said, hey, man, this has never been done.

00:17:03We're making movie history.

00:17:06This is history right now.

00:17:08At ILM, we shot all this great reference material of Robert Patrick walking.

00:17:15I had come up with a method to actually build the T-1000.

00:17:18Okay, ready to roll camera?

00:17:20All right, roll B camera.

00:17:22Action!

00:17:23I started with a set of bones.

00:17:27Spaz, he actually animated my skeletal system.

00:17:31So it operates like any standard puppet.

00:17:36It's got 30 channels to it that go from anywhere from controlling the speed of his legs to the speed of what his fingers are doing.

00:17:42This is really the first successful step to adding real life to an otherwise inanimate piece of geometry.

00:17:49We were destined to do that or nothing.

00:17:51We knew that other people had come so far.

00:17:54We wanted to go beyond that.

00:17:55Once that shot happened, that was it.

00:17:59Everybody knew.

00:18:02It was a new beginning.

00:18:05ILM was evolving.

00:18:07If you're lucky, you'll find a place to go where they will continue to subsidize your insanity.

00:18:16Stories that wanted to be told 10 years ago couldn't really be told because there was limitations in the effects industry.

00:18:23Every time we did something that became better and digital, more experts moved in that we'd never seen before.

00:18:30More managers moved in.

00:18:32More people to tell you what you were doing wrong, even though they didn't even understand what you were doing.

00:18:37Many folks, particularly in the beginning, didn't embrace it, nor did they feel like they had the capability to embrace it.

00:18:45You didn't want to lose your job to anything that was new.

00:18:50Right away, we knew this is coming.

00:18:53A lot of people were terrified by it.

00:18:55It's going to put model makers out of work.

00:18:57It was a live conversation happening all the time because it was a threat.

00:19:00That's how we saw it.

00:19:02So not only did they not want to embrace them, they actually wanted to see them fail.

00:19:07But this was the future, and I just started buying gear, throwing money into digital.

00:19:15Now we started hiring, and we needed to hire people to do Terminator 2.

00:19:21On the abyss, there were probably seven or eight computer graphics artists.

00:19:26And by the time we got to Terminator, it had grown to around 15.

00:19:29We were kind of new to this whole field.

00:19:33We were inventing it as we went along.

00:19:35I went into ILM my first day, and they crack open a binder full of storyboards, and I'm turning through the pages, and I'm looking at one thing and saying, oh, well, how are we going to do that?

00:19:47And they said, oh, we don't know yet.

00:19:50I turn a few more pages and look at something else, and, oh, how do we do that?

00:19:53We don't know.

00:19:55And I thought, people are crazy.

00:19:58What I knew was geometry and animation and a little bit about lighting.

00:20:02I didn't know anything about compositing.

00:20:04I certainly didn't know anything about traditional special effects.

00:20:07I wasn't even a big movie buff, really.

00:20:09I had no training in film whatsoever, not a single day of film school.

00:20:14Every filmmaker who wanted to do something new came to ILM, but doing traditional effects, blowing things up in camera, and then optically printing them was very much still the norm back then.

00:20:29As the manager of the company, what I really need to do is foster change, so I need to take some of the computer graphics people and put them in with the old-school masters.

00:20:38And I carved out, like, a week of time of these people to be together in a seminar so that they could teach each other.

00:20:49It was like oil and water.

00:20:53And this is a C-3PO.

00:20:56The computer graphics people that were being hired had very little time nor interest in old-school technology.

00:21:04Let's see, I was vital signs there.

00:21:06After all these years, he still holds up.

00:21:08It was like, you know, your high school students saying, why do I have to study math?

00:21:12I don't need to study.

00:21:13I have this thing as a calculator.

00:21:15We all loved ILM, and we loved George Lucas, and we loved all that stuff because it had an impact on our lives.

00:21:21But we weren't, like, mad fanboys.

00:21:24We believed in kind of the irony of it all, you know.

00:21:27So it wasn't, like, to be taken so seriously.

00:21:30It wasn't like we wanted a day of fire, worship all these things.

00:21:34So we were, first of all, we were casual about it.

00:21:36Steve Williams was a combination of brilliance, naivete, some childishness, all wrapped into one package.

00:21:51And I think some of that rubbed management the wrong way.

00:21:55He drove me crazy.

00:21:57He drove everybody crazy in that marketing department because he did not do what we wanted him to do.

00:22:01And he almost had, like, a secret glee by not doing what we wanted him to do.

00:22:06If you're going to have a successful company with creative people in it, you've got to give some leeway to these unusual types.

00:22:16They are young, full of energy, and some of them are oddballs.

00:22:22There was a lot of serious work there, but there was also a lot of nonsense.

00:22:34And you have to have a lot of nonsense to actually get creative stuff done.

00:22:40It's part of the equation.

00:22:43We would have these parties called pit parties.

00:22:47We hung up flyers all around the company.

00:22:49It said, nailed, an evening of social penetration.

00:23:00We had two big bowls, Mystic Masonic Punch and Our Lady of the Berry Wine.

00:23:08There were people running around drunk out of their heads.

00:23:10There's really no guidelines or no established standards of how we're supposed to behave or what we're supposed to do or not do.

00:23:19So there were certain drugs were consumed.

00:23:22And, well, I took some mushrooms and watched some black and white movie in reverse.

00:23:26The fact that they were down there in the pit, they could let off a lot of steam.

00:23:30Steve would have a hockey stick and he'd be bashing something.

00:23:33I ended up falling off the desk and falling in a pile of glass.

00:23:37I didn't have any feeling for a while.

00:23:40I was suspended twice because we fucking destroyed the place.

00:23:45You needed to allow people to make mistakes and experiment.

00:23:52You also needed to allow them to understand that it was a business.

00:23:56There was a lot of politics at the time because it was a high-profile film.

00:24:00In The Abyss, you know, there was a small sequence.

00:24:04James Cameron had basically said, if this does not get done on schedule, I can just cut it up.

00:24:10Now for Terminator 2, it was pretty clear that if computer graphics didn't work out, that would be a problem.

00:24:18So the pressure was on.

00:24:19Somehow, everybody around us just had to trust us.

00:24:22If a studio is about to spend five or six million dollars, they want somebody that's got some cred, right?

00:24:29Not us young punks.

00:24:30For a group of computer graphics people who are trying to prove themselves, you had to have a face for that.

00:24:36And that was Dennis.

00:24:37Dennis Mirren looms big over everything.

00:24:42He's Optimus Prime.

00:24:44Dennis had all the experience and such great credentials.

00:24:48He was the leader of the pack.

00:24:49He was the guy with the most gold statues.

00:24:51He was the guy who was still standing and they're the longest.

00:24:53He was the guy.

00:24:54Computer-generated images are a way of coming up with new effects.

00:24:59You're starting to see, I think, a lot of the limits of traditional effects.

00:25:03So I have all the time in sort of pushing for this stuff to work.

00:25:05Dennis not only supported digital technology, but embraced it and pressed it.

00:25:12He always, I think, is looking big picture and understands how all the elements fit.

00:25:17He could look at an image.

00:25:18It's not working.

00:25:19He's the kind of guy that could say, what will make it work?

00:25:22That's a big, big talent.

00:25:25He's one of the best.

00:25:26That's why he's so well-respected and won so many awards.

00:25:30He had the vision to see where it could go,

00:25:33but the specifics of making it go there, as far as the actual doing,

00:25:39fell somewhat to other people.

00:25:41Hierarchies being what they are,

00:25:43at some point you find yourself now reporting to someone

00:25:47who knows less than you do about what it is that you're doing.

00:25:52Dennis comes from a camera background.

00:25:55He knows that area really well,

00:25:56but was relying certainly on us computer geeks

00:25:59to try and bolt everything together and get the shots through.

00:26:03There's no one person who can know or do everything.

00:26:07And so you have to rely on people who have expertise.

00:26:10If you're smart, you get into that organization,

00:26:14you play by the rules, you make connections,

00:26:17but you have to have a bit of humility.

00:26:19The spaz to pay personality style, I don't think fit.

00:26:26They had more of a punk sensibility.

00:26:28The way they like to dress and the way they like to do things

00:26:32was not the norm at ILM.

00:26:35There were several times when they almost got fired.

00:26:37During the making of Terminator 2, there was a dinner.

00:26:42And it's at Skywalker Ranch.

00:26:44The ranch was sort of verboten.

00:26:46We were sort of like the bastard stepchildren

00:26:49that lived on Kerner and ate at foodles.

00:26:52Mark and I are invited to the ranch.

00:26:56We ride our motorcycles up to Skywalker Ranch.

00:26:59We park them all in front, like 25 motorcycles.

00:27:02This office building is a house.

00:27:04We went into the executive dining room.

00:27:07The food's being served.

00:27:08These two guys get bored, and they decide to get up and take a walk.

00:27:11We're just walking around the house.

00:27:12And then at the very end, there's a little, like, sunken den.

00:27:17They found their way to George's private sanctum,

00:27:20the ante room to his actual office.

00:27:22They walk into the office, and they sit down.

00:27:24Smoking cigars into George's liquor cabinet,

00:27:28feet up on the desk.

00:27:29Now, unbeknownst to us, everything is alarmed.

00:27:33They had pressure-sensitive carpets up there.

00:27:35And all of a sudden, out of nowhere,

00:27:37the Skywalker police show up.

00:27:39Skywalker had their own police and fire department.

00:27:41What's going on here? Who are you?

00:27:43What are you doing? You're in George Lucas's office.

00:27:45They had done the unthinkable.

00:27:47They had actually gone in and defiled the chambers.

00:27:51Spaz says, well, my name is Scott Ross.

00:27:54DePay gave his name as Lincoln Who,

00:27:56which caused a certain amount of chagrin for the real Lincoln Who.

00:28:00Lincoln Who's one of the only other Asian guys I could think of,

00:28:02even though I'm only half Asian.

00:28:03And the security guy said, we know who Scott Ross is.

00:28:06What's your name?

00:28:07And Spaz says, you got me.

00:28:10My name's Ed Jones.

00:28:11So the next morning, the call comes in.

00:28:13What the hell did you guys do?

00:28:15We didn't do anything.

00:28:16We were screwing around.

00:28:17Well, they think you did something,

00:28:18and you're in deep shit.

00:28:19I go, like what?

00:28:20They want you to be fired.

00:28:22What?

00:28:23Doug Norby.

00:28:24Doug Norby was the head of Lucasfilm at the time.

00:28:26My arch nemesis calls me on the phone,

00:28:29and he says, George is beside himself,

00:28:31and I want you to fire Lincoln Who and Ed Jones.

00:28:35I said, well, first of all, it wasn't Lincoln Who,

00:28:37and it wasn't Ed Jones.

00:28:38It was Steve Williams, and it was Mark DePay.

00:28:41He says, George wants them fired.

00:28:44I said, I can't fire them.

00:28:46Listen, this is what George wants.

00:28:47He wants them fired.

00:28:49Okay, let me just put you in the picture.

00:28:50If I fire these two guys, Jim Cameron

00:28:55and the entire Columbia legal department

00:28:58is going to be in your office tomorrow

00:29:01because these two guys are what makes Terminator 2.

00:29:05If I fire the two of them, the film doesn't get done,

00:29:09and you're going to be sued.

00:29:11Okay, let me get back to you.

00:29:13Thanks, Doug.

00:29:14Click.

00:29:14Damn it!

00:29:15You know, so what they had to do

00:29:17is they had to figure out how to penalize us.

00:29:19So what happened was we had to sit on a tribunal,

00:29:22me and Mark on one side,

00:29:23and all the head brass of Lucasfilm.

00:29:26They're asking us the weirdest fucking questions

00:29:28in the world.

00:29:29They're going, if you're having a party at your house

00:29:31and you see that people have gone into your bedroom

00:29:34during the party, would you be offended?

00:29:36I said, no.

00:29:37Are you kidding me?

00:29:38I said to my party, everyone's in the bedroom.

00:29:41This is ridiculous.

00:29:45Mark and I go, look, we'll quit right now.

00:29:47We said, we'll quit.

00:29:48Oh, no, no, no, no.

00:29:49They can stay, but they are banned from the ranch.

00:29:54They are no longer allowed on the ranch.

00:29:57From that moment on,

00:29:58they were persona non grata at the ranch.

00:30:01Lincoln who winds up getting a phone call,

00:30:04and it's Doug Norby.

00:30:05I know it wasn't you.

00:30:07I know it was the other guys,

00:30:08and I'm really sorry that I used your name,

00:30:11but I really want to thank you

00:30:12for the plate of cookies that you sent me.

00:30:15And Lincoln says, Doug,

00:30:18I wouldn't eat any of those cookies if I was you.

00:30:21I'm Roger Ebert of the Chicago Sun-Times.

00:30:27And I'm Gene Siskel of the Chicago Tribune,

00:30:29and our first film is Terminator 2.

00:30:32Thanks to some truly spectacular and mystifying special effects,

00:30:35this is one terrific action picture.

00:30:37I enjoyed it a lot more than the original.

00:30:38It hit the press big.

00:30:41Tons of publicity and stuff.

00:30:44Accolades.

00:30:46No one ever seen anything like it before.

00:30:49Mark DePay and I, we were like these superstars.

00:30:52The press was crazy.

00:30:54Dennis and I did a Time Magazine article together,

00:30:57and the way it was shown is like the sorcerer

00:31:00and his young apprentice.

00:31:01I think Dennis was a supporter of the idea,

00:31:04but, you know, he's like, he was worried.

00:31:08I didn't go into the show relying on CG to be able to do it.

00:31:12I had a backup plan.

00:31:13I was ready at any time to start pulling out the,

00:31:16and get the model shop going,

00:31:18and getting the foam being, you know,

00:31:20whipped up and castings and everything like that

00:31:22if we had to, and try, you know,

00:31:24other techniques to do it.

00:31:26Those guys are working with limitations,

00:31:29technical limitations.

00:31:31When computer graphics came along,

00:31:34we were really trying to do better

00:31:35at what the guy did before.

00:31:39Steve really pushed on everyone.

00:31:42He knew what we could do,

00:31:43and that we could push it further.

00:31:45Maybe that's where some of the friction came from.

00:31:48It will be no secret that Dennis and Spaz's relationship

00:31:52is not always the friendliest thing.

00:32:00Oddly enough, the biggest obstacles I ran into

00:32:02were the experts at ILM.

00:32:04They were the obstacles.

00:32:06It wasn't the technology.

00:32:07They were the obstacles.

00:32:09He was like having the crazy grandfather in the room

00:32:12that was in World War II,

00:32:13and his mumbling stories about World War II.

00:32:15But you're supposed to listen to him,

00:32:17because if you don't, you're always considered politically incorrect.

00:32:21The big shift in your time was, I guess, from optical to digital,

00:32:25and that you went through, what, a kind of crisis or a period of learning?

00:32:29The credit was given to the person that actually didn't even understand how it was done.

00:32:32The Abyss just looked amazing,

00:32:35and I thought, this is going to work,

00:32:37and I don't understand it.

00:32:38This was such a new technology.

00:32:40He wouldn't have had any clue.

00:32:41So that's when I just said I'd take a year off.

00:32:44I didn't know it was going to be a year,

00:32:45but, and learn this.

00:32:47I got that big Van Damme Foley book on CG,

00:32:51and read that just from front to back over a period of weeks.

00:32:55And I didn't, I still didn't quite understand it,

00:32:57but I wasn't afraid of it anymore.

00:32:59After the Abyss, he got an Oscar for it.

00:33:02And I'm here for Industrial Light and Magic,

00:33:04and thanks to everybody who worked on the show from up there,

00:33:06John Noel, and everybody in the computer graphics department.

00:33:10And thanks so much, especially to Jim Cameron, my wife Zara, and Gregory.

00:33:14Thank you.

00:33:17Did you get my trophy that I won?

00:33:23No, I missed that.

00:33:24What is this?

00:33:25That's my Oscar.

00:33:26Could be Abyss?

00:33:27It looks a little soft.

00:33:29I think in any environment like that,

00:33:32you're going to have some jealousy.

00:33:37Everybody is jockeying for position,

00:33:41but I don't think Steve William was jockeying for anything.

00:33:44He was not a ladder climber.

00:33:48He just wanted to have fun and do his art.

00:33:52He was the one actually hands-on creating.

00:33:56He would work late nights in the pit.

00:33:59That's when he would focus the most and follow his own instincts.

00:34:02Politically, you don't see the stuff coming

00:34:06because you're so engrossed in what you're doing.

00:34:08There's always been bureaucracy and red tape and politics,

00:34:14and there were politics at ILM back in the day, too.

00:34:18You know, there was a big man on campus, bigger than Steve,

00:34:21won numerous Oscars.

00:34:23I'd like to thank my mom and John Berg and Phil Tibbett

00:34:27and Ken and all the camera department.

00:34:29And thanks very much to Mike McAllister,

00:34:31Mike Pagrazio in the math department.

00:34:33I'd very much like to thank Bruce Nicholson,

00:34:35Mike McAllister, Mike Owens.

00:34:37Well, thank the Academy and Steven Spielberg,

00:34:40George Lucas, Kathy Kennedy, Frank Marshall, and Robert Watts.

00:34:43This is a big thrill.

00:34:44We'd really like to thank the Academy,

00:34:46Joe Donnie for doing his great direction,

00:34:47Mike Fennell, of course, Steven Spielberg.

00:34:49His name was going to be at the top,

00:34:50regardless of all the people who were working underneath,

00:34:53and there were dozens and dozens.

00:34:54Steve was just one of them.

00:34:56Secondly, there's the concept of, you know,

00:34:58there's your story, there's my story,

00:35:00and there's the story.

00:35:02I think, you know, history is written for the victors.

00:35:10The Oscar goes to Dennis Murin, Stan Winston,

00:35:14Gene Warren, Jr., and Robert Skotak.

00:35:16Terminator 2 Judgment Day.

00:35:19Thanks to everyone at Industrial Life Magic,

00:35:24and especially my incredible computer graphic team.

00:35:27To Janet Healy, Mark DuPay, my wife Zara Gregory,

00:35:31and Gwendolyn, and especially Jim Cameron.

00:35:43You didn't mention me.

00:35:45I remember I was so mad I put my fist through a wall.

00:35:51You work.

00:35:52You kill yourself.

00:35:55Somebody else gets a hand.

00:36:01Somebody else gets a credit.

00:36:02I never thought about politically how to play this fucking chess game.

00:36:14We were thinking about creating the art, right?

00:36:16Creating these ideas.

00:36:19We weren't thinking about,

00:36:20what does this mean for my future.

00:36:33There's always going to be a bigger fish.

00:36:35She's going to get the credit.

00:36:38That's how the game is played.

00:36:42That's life.

00:36:42If you want to stay in the industry,

00:36:46you've got to play the game.

00:36:51Steve didn't play that game.

00:36:53He didn't know how to.

00:36:55He didn't want to.

00:36:59That's why he stood out.

00:37:00You learn a lot in an environment like that,

00:37:06not just about how to do what is ostensibly your job,

00:37:09but how it fits with the rest.

00:37:14Not everybody really fits that environment.

00:37:18And you function within this hierarchy.

00:37:22This is the sort of through-to-the-bone moment

00:37:24where you realize,

00:37:26yes, the game is changing.

00:37:27In June of 91,

00:37:36this meeting happened

00:37:37at a place called Yushang,

00:37:39across from ILM.

00:37:41So Mark Dupin and I are sitting there,

00:37:42and Dennis Murin's there.

00:37:44John Schlagg's there.

00:37:45Mike Knacken is there.

00:37:47Stefan Fangmeier's there.

00:37:49Murin said Steven Spielberg

00:37:50is coming up with this new film

00:37:52based on Michael Crichton's book

00:37:53called Jurassic Park.

00:37:55It's about a bunch of dinosaurs in a park

00:37:57and it goes awry.

00:37:59When Jurassic started,

00:38:01there were three different approaches

00:38:03and companies that were going to handle it.

00:38:06Stan Winston's group would do

00:38:08the physical creatures for the close-ups.

00:38:11Phil Tippett's group would do

00:38:12the medium shots via stop motion

00:38:15where you could see all the action of a dinosaur.

00:38:18and then ILM would do the faraway herd shots.

00:38:23The long shots.

00:38:25Oh, they're way over there

00:38:26and they're only this big in the frame

00:38:28and we can get away with all kinds of cheats.

00:38:31These are the decisions we've made.

00:38:33Here's where we're going.

00:38:34This is great.

00:38:35So, Steve Williams, Mark DePay,

00:38:42said,

00:38:43why don't we just build the whole thing

00:38:45in computer graphics?

00:38:46Let's just do the whole thing.

00:38:48Yeah, that's a tough one.

00:38:54Sure.

00:38:56Yeah.

00:38:56We're all like,

00:38:57uh, okay.

00:38:59We're ready for this.

00:39:00We can do this.

00:39:01We gotta fucking do it.

00:39:02Oh, no.

00:39:02No, no, no, no, no.

00:39:03Nope.

00:39:04No.

00:39:05Every mirror is just blank.

00:39:07Like orphan Annie eyes.

00:39:08Fangmire.

00:39:09He jumped in right away, said no.

00:39:11We're in the last stretches

00:39:12of completing Terminator 2.

00:39:14Working 16-hour days.

00:39:15We're all a little worn out.

00:39:17So I think we were rather cautious.

00:39:19The amount of work is so large

00:39:20and the unknowns, so many.

00:39:23People were being negative.

00:39:26Now, look, you've done chrome,

00:39:28you've done water,

00:39:29but you've never done anything living, breathing.

00:39:31The liquid metal polyalloy Terminator

00:39:34was simpler than a dinosaur.

00:39:36We knew we'd never done it before.

00:39:38Even the abyss,

00:39:39I'd never done that before,

00:39:40but I said I can do it.

00:39:41T2, same thing.

00:39:42I'd never done it before,

00:39:43but I said I could do it.

00:39:43Steve Williams and Mark DePay

00:39:46knew that the time was right.

00:39:48They could just see it.

00:39:50The opportunity was there.

00:39:51They wanted to seize it.

00:39:53And I think other people was like,

00:39:55whoa, that's, no,

00:39:57we're not going into this whole new realm.

00:40:00The powers that be

00:40:01were just so concerned.

00:40:05Phil was definitely a naysayer

00:40:06in the beginning.

00:40:07I kind of felt it was like

00:40:10the Wild West.

00:40:13These new guys were coming in,

00:40:16the young gunslingers, you know.

00:40:19It was like,

00:40:19I can outdraw you.

00:40:23Phil Tippett,

00:40:25the enfant terrible

00:40:26of stop-motion visual effects,

00:40:29he is the real deal.

00:40:31watching Phil Tippett work,

00:40:34it was real apparent real quick

00:40:36that he was one of those magic people.

00:40:40When you have that much talent

00:40:41and you have that much knowledge

00:40:43and you have that much work discipline,

00:40:46it makes you a sort of

00:40:48super uber effects geek.

00:40:51And that was Phil.

00:40:53Phil Tippett and Dennis Murin

00:40:56both worked at Cascade

00:40:58in early parts of their careers.

00:41:01They'd worked on

00:41:02Dragon Slayer together in 1981.

00:41:05They'd had a long relationship.

00:41:08Right from the start,

00:41:10Dennis was in the position

00:41:11of having people that he knew

00:41:13that he wanted to make sure

00:41:14they were part of the mix.

00:41:17Steve knew what we could do

00:41:19and that we could push it further.

00:41:20I perceived just a slight amount

00:41:24of, you know, competition

00:41:25on their side, you know,

00:41:27needing to prove themselves.

00:41:29That's why Phil got mad,

00:41:31because we were trying to do

00:41:32a stop-motion film

00:41:33using computer graphics.

00:41:35He led the camp that

00:41:36that is the wrong road to go down.

00:41:39I think from Dennis' point of view,

00:41:42he was worried.

00:41:43He's like,

00:41:44dude, this is a lot different

00:41:45than liquid metal.

00:41:47And then Phil was like,

00:41:49computer animation,

00:41:50that's the wrong approach.

00:41:53The stop-motion footage

00:41:54was the selected solution.

00:41:56Full-scale animatronics

00:41:57with Stan Winston.

00:41:58That was the approach

00:41:59that was agreed upon

00:42:00and that was the road

00:42:01they were going down.

00:42:03Everything had been signed.

00:42:04Stan's doing this,

00:42:05Phil's doing that,

00:42:06Stan's doing this,

00:42:06and that's it.

00:42:07This is the technology

00:42:08we're using.

00:42:09There is no room

00:42:10for a new technology.

00:42:11There was something

00:42:20about being told no,

00:42:21you know,

00:42:23if you're rebellious,

00:42:25no,

00:42:25no is actually

00:42:26really a fuel for you.

00:42:30He took it upon himself

00:42:31to just prove it.

00:42:33And the only way

00:42:34to prove that

00:42:35is to show it.

00:42:36Steve Williams

00:42:37starts by making a skeleton.

00:42:39I literally did

00:42:43exactly what I did

00:42:44with a T-Rex

00:42:45that I did

00:42:46with a T-1000.

00:42:48I just built it in bones.

00:42:51I built the damn thing

00:42:52secretly

00:42:53on my own time.

00:42:55It was a complete

00:42:56act of rebellion.

00:42:58I think one of the reasons

00:42:59they tried to stop

00:43:00that type of innovation

00:43:01is because

00:43:02the visual effects gurus

00:43:03who didn't theorize it

00:43:05would be seen

00:43:05as having egg

00:43:06in their face.

00:43:08I just believe

00:43:09we could do it.

00:43:11But actually having

00:43:12to prove it,

00:43:13that was the challenge

00:43:14because it was

00:43:16all about proof.

00:43:18I remember Dennis Mirren,

00:43:19actually,

00:43:20he had heard

00:43:21a rumor

00:43:21from one of his

00:43:22little weaselly minions

00:43:23that I was building

00:43:24a set of T-Rex bones.

00:43:26He told me

00:43:26to my face,

00:43:29don't bother trying

00:43:30to build a T-Rex.

00:43:32Phil's doing it.

00:43:33I was saying,

00:43:35guys, don't do this.

00:43:36You know,

00:43:37Phil's my buddy.

00:43:38He's got the job

00:43:39for everything else,

00:43:39you know,

00:43:40and just let this play out.

00:43:41That's what he said.

00:43:42That's what he said.

00:43:43And he hadn't seen

00:43:44anything yet.

00:43:47I don't worry

00:43:48about hardly anything

00:43:50ever.

00:43:55Although,

00:43:56you know,

00:43:57I've got this anxiety

00:43:58that's like

00:43:59the sort of Damocles

00:44:01that's hanging

00:44:01over my head.

00:44:04Sometimes you just

00:44:05feel like

00:44:06something terrible

00:44:08is going to happen.

00:44:11Steve Williams,

00:44:13on his own,

00:44:15put together

00:44:15a Tyrannosaurus skeleton

00:44:17and did a walk cycle.

00:44:19I don't think

00:44:31we fully realized

00:44:33how

00:44:36that was going

00:44:39to change everything.

00:44:41It was all secret.

00:44:42No one knew about it.

00:44:44There was a big meeting

00:44:46that was going to happen.

00:44:47Kathleen Kennedy,

00:44:49Frank Marshall,

00:44:50Dennis Muren,

00:44:51Janet Healy.

00:44:53Janet Healy

00:44:54is the producer,

00:44:55Dennis Muren

00:44:55is the visual

00:44:56effects supervisor.

00:44:58I looked at it

00:44:59as like,

00:44:59oh,

00:45:00this is mom and dad.

00:45:01They're in charge.

00:45:03I didn't know

00:45:04when the entourage

00:45:05was going to come up,

00:45:06but I knew

00:45:07they were coming up

00:45:07eventually,

00:45:08so I got wind of it.

00:45:09Frank and Kathy

00:45:10had come in

00:45:11because Stephen

00:45:11couldn't come in.

00:45:14Kathleen Kennedy

00:45:15was Stephen Spielberg's

00:45:16producer.

00:45:16Kathleen Kennedy,

00:45:18Frank Marshall,

00:45:19they were going

00:45:20to come walking in

00:45:21on a Monday morning

00:45:22in November 1991.

00:45:24And then I guess

00:45:25the hard part of that

00:45:25was he had to find

00:45:26a way to get that

00:45:27in front of Kathleen Kennedy

00:45:29and he found a way

00:45:31to do that.

00:45:33This was not

00:45:34supposed to happen.

00:45:36Dennis and Janet,

00:45:37they didn't know

00:45:38what was going to happen.

00:45:40I had a plan

00:45:41on a monitor

00:45:41and everyone

00:45:43came walking in.

00:45:44and she immediately

00:45:46sees it right away

00:45:47and she goes,

00:45:49what's this?

00:45:51I said,

00:45:52well,

00:45:52I've just been working

00:45:53on this walking

00:45:54T-Rex bone thing.

00:45:59Kathleen Kennedy

00:46:00pats me on the back

00:46:00and goes,

00:46:01you have a very

00:46:01great future

00:46:02and that was that.

00:46:04That's the first

00:46:05and only time

00:46:05I ever met her.

00:46:06I never saw her again.

00:46:08That's where

00:46:09everything changed.

00:46:11Dennis Murin said,

00:46:12okay,

00:46:12this is really interesting.

00:46:14I didn't know

00:46:14how close we could get

00:46:15and then eventually

00:46:16some of the guys

00:46:17did some tests

00:46:18on a T-Rex

00:46:18which came out

00:46:19really great

00:46:20and surprised everybody

00:46:21and then we skinned that.

00:46:23All we had at this time

00:46:24was a skeleton

00:46:25and we were going,

00:46:25we can do it.

00:46:26Stan Winston's going to

00:46:26send up a five-foot model.

00:46:28Mark and I cut it up

00:46:29into bits

00:46:29and we put it

00:46:31in a sideware scanner

00:46:32and scan all the pieces

00:46:33and I have to reconstruct

00:46:35all the data

00:46:36to have the proper

00:46:36contour and muscles.

00:46:38I built the skin version

00:46:40of the T-Rex.

00:46:41It was all working.

00:46:43ILM,

00:46:44largely through

00:46:44Steve Williams,

00:46:46Mark DePay

00:46:46and Stefan Fangmeier

00:46:48put together

00:46:49the first dinosaur tests.

00:46:50The film couldn't

00:46:51have happened without them.

00:46:52Certainly couldn't

00:46:53have happened without

00:46:53Steve's ability

00:46:54to model first

00:46:55the Terminator

00:46:55and then later

00:46:56the dinosaurs.

00:46:57The film at the same time

00:46:58also was very much

00:46:59still on track

00:47:00to do stop motion.

00:47:03Back then

00:47:03everything that we did

00:47:05hadn't been done before.

00:47:06I mean certainly

00:47:06nobody attempted

00:47:07to do dinosaurs before.

00:47:09They made

00:47:10our convincing

00:47:12computer graphic

00:47:13Tyrannosaurus.

00:47:14The first fully-skinned

00:47:16version

00:47:17and we had it walking

00:47:18in daylight.

00:47:20Then Dennis

00:47:21and Janet

00:47:22with Tippett

00:47:22went down

00:47:23to Universal

00:47:24to show it

00:47:25to Steven Spielberg

00:47:25but I wasn't allowed

00:47:27to be there.

00:47:28I got a call

00:47:29from Dennis Murin

00:47:30at ILM

00:47:30who already had

00:47:31the job

00:47:32of doing

00:47:32Jurassic Park

00:47:33with Phil Tevitt

00:47:33and Dennis

00:47:34said that he thought

00:47:35that he could

00:47:36pull off

00:47:37a full-sized dinosaur

00:47:38that would be

00:47:39authentic to the eye.

00:47:41Spielberg shot

00:47:41and went

00:47:41absolutely insane

00:47:43and said

00:47:43everything's going

00:47:43to be computer

00:47:44graphics now.

00:47:46That's the future.

00:47:48That's the way

00:47:49it's going to be

00:47:50from now on.

00:48:14That first shot

00:48:16of the brachiosaur

00:48:17my jaw dropped.

00:48:21I literally

00:48:21and then that

00:48:28wide reveal

00:48:29of them all

00:48:30out there

00:48:30on the plane

00:48:31that's still

00:48:38the one

00:48:38that gets

00:48:39my heart.

00:48:39I swear to God

00:48:44it looked like

00:48:45National Geographic

00:48:46went back

00:48:46in a time machine

00:48:47and shot real

00:48:48dinosaurs

00:48:48and that's

00:48:48what I fucking

00:48:49saw.

00:48:49Those things

00:48:50looked real

00:48:51and what they

00:48:52were representing

00:48:53was not some

00:48:55sci-fi thing.

00:48:56Far as we know

00:48:57those things

00:48:58moved around

00:48:59like that

00:48:59and that's

00:49:00what they

00:49:00looked like

00:49:00and that's

00:49:01what they did.

00:49:02Jurassic Park

00:49:03took everybody

00:49:04by surprise.

00:49:05nobody saw

00:49:06that one

00:49:06coming.

00:49:07For almost

00:49:0875 years

00:49:09the technology

00:49:10and the techniques

00:49:11were pretty much

00:49:12the same.

00:49:14Jurassic

00:49:15that's when

00:49:15the computers

00:49:16came in.

00:49:20That's when

00:49:21the tsunami

00:49:22hit.

00:49:24Jurassic Park

00:49:25opened tonight

00:49:25with predictions

00:49:26that it may be

00:49:27the biggest hit

00:49:28in years

00:49:28and like any

00:49:29great event

00:49:30people are

00:49:30camped out

00:49:31to be part of it.

00:49:32We got here

00:49:33about 11 o'clock

00:49:33this morning.

00:49:3411 this morning

00:49:35for what show?

00:49:36The 10.45

00:49:37tomorrow morning.

00:49:38That was the

00:49:39turning point

00:49:40of visual

00:49:41filmmaking.

00:49:42People especially

00:49:42kids like

00:49:43dinosaurs.

00:49:44Jurassic Park

00:49:46where the giant

00:49:46dinosaurs live

00:49:47again with all

00:49:48the excitement

00:49:49of the movie.

00:49:50Only at

00:49:51Jurassic Park.

00:49:53The film was

00:49:54supposed to be

00:49:55a stop motion

00:49:56film.

00:49:58Computer graphics

00:49:58came in

00:49:59and completely

00:50:00deposed

00:50:01all of it.

00:50:02It destroyed

00:50:03one thing

00:50:04but it begat

00:50:04another.

00:50:06I had come

00:50:07up with this

00:50:08test that

00:50:08it seemed

00:50:09it revolutionized

00:50:10everything.

00:50:11The call

00:50:11came down

00:50:12Dennis called

00:50:12me at home

00:50:13and said

00:50:14I'm afraid

00:50:15I have some

00:50:16bad news.

00:50:17Steven's decided

00:50:17to do the

00:50:18whole show

00:50:18CG

00:50:19and I

00:50:20you know

00:50:21like the

00:50:21bomb bay doors

00:50:22just

00:50:22I saw

00:50:26you know

00:50:26like the

00:50:27the end

00:50:27now what

00:50:29am I

00:50:29going to

00:50:30do.

00:50:30I thought

00:50:31because I

00:50:31was animation

00:50:31supervisor

00:50:32on Terminator 2

00:50:34which is very

00:50:35successful

00:50:36you know

00:50:36I was going to

00:50:37be animation

00:50:37supervisor

00:50:38in Jurassic.

00:50:38I literally

00:50:41ambushed them

00:50:42with the

00:50:42image

00:50:42I thought

00:50:43how much

00:50:43more can

00:50:44I do

00:50:44to actually

00:50:45prove that

00:50:45I came up

00:50:46with the

00:50:46idea

00:50:46I thought

00:50:48for sure

00:50:48it was a

00:50:49slam dunk

00:50:49there was no

00:50:52definition about

00:50:52what the jobs

00:50:53were on Jurassic

00:50:54Park

00:50:54so I asked

00:50:56Janet Healy

00:50:57I said

00:50:57well you know

00:50:57what's going

00:50:59on

00:50:59what's my

00:50:59position

00:50:59you're just

00:51:00an animator

00:51:01in the film

00:51:01what

00:51:03who's the

00:51:04animation

00:51:05supervisor

00:51:05Dennis in

00:51:09all of his

00:51:10brilliance

00:51:10he has a

00:51:12plan B

00:51:12the upside

00:51:14of it is

00:51:15you know

00:51:15they're still

00:51:16on the show

00:51:16they're moving

00:51:17into new

00:51:17technology

00:51:17and

00:51:19you know

00:51:21their talents

00:51:22were needed

00:51:22Phil Tippett

00:51:23wanted to

00:51:24actually do

00:51:25storyboards

00:51:25three-dimensionally

00:51:27with little

00:51:28figures of

00:51:29dinosaurs

00:51:29and people

00:51:30that would

00:51:31completely

00:51:31imitate my

00:51:32storyboards

00:51:33but flush

00:51:33out my

00:51:34storyboards

00:51:34and give

00:51:35them

00:51:35dimension

00:51:36storyboards

00:51:37don't show

00:51:38you any

00:51:38of the

00:51:39temporal

00:51:40cadence

00:51:40the sequence

00:51:41the timing

00:51:41of it

00:51:42and the

00:51:43animatics

00:51:43allowed us

00:51:44to block

00:51:45out the

00:51:46entire

00:51:46sequence

00:51:47Phil was

00:51:50able to

00:51:51turn himself

00:51:52into the

00:51:52director

00:51:53of the

00:51:53CGI

00:51:53dinosaurs

00:51:54he knew

00:51:55so much

00:51:55about

00:51:55dinosaurs

00:51:56and the

00:51:56behavior

00:51:56of animals

00:51:57I go

00:51:58into

00:51:58Daily's

00:51:59at 8am

00:52:00and there's

00:52:01Phil

00:52:01Tippett

00:52:01who's now

00:52:02functioning

00:52:02as the

00:52:03animation

00:52:04director

00:52:04for

00:52:04Jurassic Park

00:52:05wow

00:52:09and the

00:52:11Oscar

00:52:11goes to

00:52:12Dennis

00:52:13Murren

00:52:13Stan

00:52:14Winston

00:52:14Bill

00:52:15Tippett

00:52:15and

00:52:16Michael

00:52:16Lanteri

00:52:16for

00:52:17Jurassic Park

00:52:18Thanks

00:52:33ILM

00:52:33Thanks

00:52:34Diffin

00:52:34Studio

00:52:35Thanks

00:52:35Mike Hayes

00:52:37Joey Lover

00:52:38Thanks

00:52:38Steven

00:52:39I've always

00:52:55believed

00:52:55the people

00:52:56that worked

00:52:57on the work

00:52:57should be

00:52:58acknowledged

00:52:58for it

00:52:59anytime

00:53:01an individual

00:53:03took an award

00:53:04and took the

00:53:05award home

00:53:06and took the

00:53:06accolades

00:53:07for it

00:53:08to me

00:53:08it was

00:53:09theft

00:53:09ILM had

00:53:12won 14

00:53:12Oscars

00:53:13at that

00:53:13time

00:53:13not one

00:53:16of them

00:53:16were at

00:53:17ILM

00:53:17not one

00:53:20so these

00:53:22guys had

00:53:23the audacity

00:53:24to actually

00:53:24take this

00:53:25piece of

00:53:25shit home

00:53:26with them

00:53:26when it

00:53:27was representing

00:53:2830 or

00:53:2940 people

00:53:29regardless

00:53:32of what

00:53:32they do

00:53:33this is

00:53:34what their

00:53:35credit is

00:53:35on the

00:53:35film

00:53:36and if

00:53:37it wins

00:53:37an Oscar

00:53:38for visual

00:53:38effects

00:53:39they get

00:53:39it

00:53:40and that's

00:53:42the way

00:53:42it works

00:53:43if you

00:53:45point to

00:53:45any one

00:53:46person

00:53:46who couldn't

00:53:46have been

00:53:47done

00:53:47without

00:53:47it

00:53:47probably

00:53:48is

00:53:48Steve

00:53:48because

00:53:48I don't

00:53:48know

00:53:49that

00:53:49anybody

00:53:49else

00:53:49could have

00:53:49modeled

00:53:50those

00:53:50dinosaurs

00:53:50I don't

00:53:51know

00:53:51that

00:53:51anybody

00:53:51else

00:53:52could have

00:53:52set

00:53:52the

00:53:52standards

00:53:53for

00:53:53animating

00:53:53them

00:53:53I don't

00:53:54know

00:53:54that

00:53:54we

00:53:55would

00:53:55have

00:53:55even

00:53:55tried

00:53:59I'm

00:54:00not

00:54:00a

00:54:00diplomat

00:54:01I

00:54:03never

00:54:03have

00:54:03been

00:54:03to

00:54:05a

00:54:06fault

00:54:06I've

00:54:06been

00:54:06a

00:54:06very

00:54:07bad

00:54:07diplomat

00:54:08I'm

00:54:10not

00:54:10political

00:54:11I'm

00:54:12not

00:54:12political

00:54:12I've

00:54:12never

00:54:13been

00:54:13political

00:54:14right

00:54:14I'm

00:54:15not

00:54:15good

00:54:15at

00:54:15it

00:54:15you know

00:54:15look

00:54:16at

00:54:16me

00:54:16for

00:54:16fuck's

00:54:17sakes

00:54:17man

00:54:17I

00:54:17look

00:54:17like

00:54:18fucking

00:54:18Popeye

00:54:19you know

00:54:19fuck

00:54:19after

00:54:20Jurassic

00:54:21I

00:54:21did

00:54:21a

00:54:21bunch

00:54:21of

00:54:21interviews

00:54:22and

00:54:22stuff

00:54:22like

00:54:22that

00:54:22and

00:54:23I

00:54:23told

00:54:23the

00:54:23truth

00:54:23about

00:54:23what

00:54:24happened

00:54:24the

00:54:25entire

00:54:25film

00:54:26of

00:54:26Jurassic

00:54:26Park

00:54:27was

00:54:28supposed

00:54:28to be

00:54:29built

00:54:29in

00:54:29stop

00:54:30motion

00:54:30go

00:54:30motion

00:54:30I

00:54:31said

00:54:31I

00:54:31want

00:54:31to

00:54:31take

00:54:31a

00:54:31crack

00:54:31at

00:54:32building

00:54:32the

00:54:32rest

00:54:32I

00:54:32was

00:54:33told

00:54:33by

00:54:33the

00:54:33experts

00:54:33not

00:54:34even

00:54:34the

00:54:34body

00:54:34because

00:54:35it

00:54:35was

00:54:35impossible

00:54:36they

00:54:36had

00:54:36envisioned

00:54:37it

00:54:37I

00:54:37was

00:54:38told

00:54:38not

00:54:38to

00:54:38do

00:54:38it

00:54:38by

00:54:39my

00:54:39supervisors

00:54:40and

00:54:40I

00:54:40did

00:54:40it

00:54:40you know

00:54:41I

00:54:41built

00:54:41it

00:54:41Dennis

00:54:43got

00:54:43mad at

00:54:44me

00:54:44a

00:54:44few

00:54:44times

00:54:44he

00:54:45pulled

00:54:46me

00:54:46into

00:54:55Steve

00:54:57Williams

00:54:57foresees

00:54:58the

00:54:58day

00:54:58when

00:54:58it

00:54:58will

00:54:58be

00:54:59common

00:54:59place

00:54:59for

00:55:00computer

00:55:00generated

00:55:01actors

00:55:01to

00:55:02star

00:55:02alongside

00:55:03real

00:55:03actors

00:55:04I

00:55:04think

00:55:04that

00:55:04you'll

00:55:05have

00:55:05characters

00:55:05acting

00:55:05with

00:55:06current

00:55:06famous

00:55:07people

00:55:08that

00:55:08are

00:55:08computer

00:55:09generated

00:55:09but

00:55:09you'll

00:55:10also

00:55:10be

00:55:10able

00:55:10to

00:55:10introduce

00:55:11characters

00:55:11that

00:55:11have

00:55:12been

00:55:12dead

00:55:12for

00:55:1250

00:55:13and

00:55:1360

00:55:13years

00:55:13in

00:55:14the

00:55:14future

00:55:14I

00:55:14mean

00:55:14it's

00:55:14quite

00:55:15obvious

00:55:15what

00:55:15will

00:55:15happen

00:55:16it

00:55:16will

00:55:16actually

00:55:16scan

00:55:17the

00:55:17actor

00:55:17in

00:55:17a

00:55:17polygonal

00:55:25right

00:55:25to

00:55:26have

00:55:26concerns

00:55:26that

00:55:26they

00:55:27will

00:55:27eventually

00:55:27be

00:55:27phased

00:55:28out

00:55:28altogether

00:55:28this

00:55:29will

00:55:29be

00:55:29abused

00:55:30and

00:55:30the

00:55:31trick

00:55:31is

00:55:31for

00:55:31all

00:55:32of

00:55:32us

00:55:32to

00:55:32stand

00:55:32up

00:55:32and

00:55:33say

00:55:33no

00:55:33that's

00:55:33wrong

00:55:34this

00:55:34is

00:55:35a

00:55:35violation

00:55:35this

00:55:36is

00:55:36not

00:55:36what

00:55:36we

00:55:36should

00:55:36be

00:55:37doing

00:55:37synthetic

00:55:37actors

00:55:38are

00:55:38inevitable

00:55:39there's

00:55:39no

00:55:39doubt

00:55:39this

00:55:41is

00:55:41unfortunately

00:55:42what's

00:55:43happening

00:55:43to be

00:55:43human

00:55:44is

00:55:44to

00:55:44bleed

00:55:45is

00:55:45to

00:55:45have

00:55:45a

00:55:46soul

00:55:46is

00:55:46to

00:55:46breathe

00:55:46see

00:55:47we're

00:55:47not

00:55:55is

00:55:55already

00:55:56an

00:55:56interpretation

00:55:57of

00:55:57what

00:55:57they

00:55:57look

00:55:58like

00:55:58this

00:55:58is

00:55:59what

00:55:59we're

00:55:59trying

00:55:59to

00:55:59our

00:55:59last

00:56:00two

00:56:00minutes

00:56:00good afternoon

00:56:00my name is

00:56:01Thomas White

00:56:01I handle

00:56:02artist rights

00:56:02enforcement matters

00:56:03for the estate

00:56:04of Fred Astaire

00:56:04the estate

00:56:05of Orson Welles

00:56:06and director

00:56:06Stanley Kramer

00:56:07all uses

00:56:08from my clients

00:56:09get licensed

00:56:10if they don't

00:56:10get licensed

00:56:11they get prosecuted

00:56:12it's that simple

00:56:13good

00:56:13and the damages

00:56:14the damages

00:56:15that we seek

00:56:16and the attorney's fees

00:56:17are extraordinarily high

00:56:19thank you all very much

00:56:20and I think we're done

00:56:21they all denied

00:56:24what we were doing

00:56:25and to me

00:56:26that's a fight

00:56:28you want to

00:56:30fucking get in a fight

00:56:31man

00:56:31you want to

00:56:31fucking drop the gloves

00:56:32you want to go

00:56:33let's go

00:56:34when it comes to

00:56:39special effects

00:56:40in the movies today

00:56:42the question really

00:56:43isn't what can

00:56:43they do

00:56:44the question is

00:56:45what can't

00:56:46they do

00:56:47for the most part

00:56:47I like having fun

00:56:48and having a good laugh

00:56:49cartoons are what got me

00:56:50into this thing

00:56:51animation supervisor

00:56:52Steve Williams

00:56:53whose credits include

00:56:54The Abyss

00:56:54and Jurassic Park

00:56:56has been a cartoon buff

00:56:57all his life

00:56:58after Jurassic

00:56:59I just didn't give a crap

00:57:01everybody can go

00:57:02fuck themselves

00:57:03these are the

00:57:05fucking good days

00:57:07man

00:57:07he was uncontrollable

00:57:10this masculine

00:57:12tough guy

00:57:14that could not

00:57:15be harnessed

00:57:16that was kind of

00:57:17my first experience

00:57:18working with him

00:57:19when you were in

00:57:21Steve's orbit

00:57:22it was like

00:57:23you were in the

00:57:24spotlight

00:57:25with him

00:57:26you knew

00:57:28if you were going

00:57:29to be

00:57:29in his company

00:57:30that you were

00:57:31going to feel

00:57:32like the queen

00:57:33of the world

00:57:34we grew to fall

00:57:36in love with each

00:57:37other

00:57:37we started a

00:57:39relationship

00:57:40that was

00:57:41very intense

00:57:42we wanted to

00:57:44start a family

00:57:44and I moved up

00:57:46to Marin

00:57:47from the city

00:57:47and it was like

00:57:48boom boom boom

00:57:49I'm starting the clock

00:57:51it's supposed to be

00:57:53too mad

00:57:54it's fucking pink

00:57:57oh no

00:57:57I don't believe it

00:57:59I think you did it

00:58:00you big stud

00:58:01you big stud

00:58:03you did it

00:58:03we never got married

00:58:04we'd be like hippies

00:58:06man

00:58:06not get married

00:58:07and have a kid

00:58:08it was great

00:58:08you know

00:58:09Hannah came along

00:58:13and that was a new world

00:58:14that's for sure

00:58:14you think you know it all

00:58:18but this door gets opened

00:58:19fatherhood

00:58:21what do you got Hannah

00:58:23tell me about your new car

00:58:24um

00:58:25I don't want to

00:58:26okay

00:58:27you're going to take it

00:58:27for a drive now

00:58:28it's really easy

00:58:35to hold on

00:58:36to those

00:58:37perfect experiences

00:58:39or perfect time

00:58:40in your life

00:58:41or when everything

00:58:42was better

00:58:43the movie making

00:58:46world changed

00:58:47he was right there

00:58:50you know

00:58:50he was on the front lines

00:58:51of doing that

00:58:52up to paying me

00:58:54in a meat locker

00:58:55the revolution

00:58:56is them

00:58:57Jurassic opened the doors

00:59:00for all movies

00:59:01so it transformed

00:59:03filmmaking

00:59:03everybody

00:59:04wanted

00:59:05digital

00:59:06computer graphics

00:59:07was the hot new thing

00:59:08after Jurassic Park

00:59:13filmmaking went off the rails

00:59:15computers allowed them

00:59:17to

00:59:17to make these

00:59:19spectacles

00:59:20producers

00:59:21are always looking

00:59:22for the magic ticket

00:59:23the secret button

00:59:24and they suddenly said

00:59:26if it's got digital effects

00:59:27that's the button you press

00:59:29that makes a gazillion bucks

00:59:30they think

00:59:31the more of this little thing

00:59:33that's great

00:59:33you know

00:59:34and by increasing it

00:59:35in these films

00:59:36is going to make

00:59:36the film better

00:59:37and it hasn't

00:59:37it's actually destroyed

00:59:38filmmaking

00:59:38more junk

00:59:39more junk

00:59:40more junk

00:59:40faster

00:59:41more junk

00:59:42a successful movie

00:59:47is built on a triangle

00:59:49you have art

00:59:51another point

00:59:52you have technology

00:59:53and the other part

00:59:54you have business

00:59:55and if any side

00:59:56gets too big

00:59:57or too small

00:59:58the motion picture

00:59:59will suffer

01:00:00it became more about

01:00:03style over substance

01:00:05we saw all kinds

01:00:07of horrible movies

01:00:08with lots of visual effects

01:00:10you know what we got

01:00:11rewarded for

01:00:11for fucking jurassic park

01:00:13casper

01:00:14the friendly ghost

01:00:15i hated casper

01:00:16when it was 2d

01:00:17uh

01:00:18hi

01:00:19the concept became

01:00:21let's redo everything

01:00:23digitally

01:00:24right

01:00:25that was done

01:00:25in a two-dimensional medium

01:00:26i mean you look at

01:00:27something like scooby-doo

01:00:28this ridiculously

01:00:30stupid looking

01:00:31cartoon dog

01:00:33it's like

01:00:35no

01:00:35that thing

01:00:36does not exist

01:00:37in our world

01:00:38i refuse to believe it

01:00:40take it away

01:00:41this was the period

01:00:48when motion pictures

01:00:50stopped being

01:00:51director controlled

01:00:52and started becoming

01:00:53corporate driven

01:00:54and this was

01:00:55the beginning

01:00:56of the end

01:00:57the corporations

01:01:00have just kind of

01:01:01taken everything over

01:01:02and fucked everything up

01:01:05and

01:01:07but they can still

01:01:09sell

01:01:09you know

01:01:10lots of coca-cola

01:01:11you know

01:01:12and

01:01:12crummy superhero movies

01:01:16because of the success

01:01:20of mask

01:01:20we end up

01:01:22producing

01:01:22a very popular comic

01:01:24at the time

01:01:24called spawn

01:01:25that was mark

01:01:32my foray

01:01:32to getting into

01:01:33making our own films

01:01:34so we leave ilm

01:01:36boom

01:01:36gone

01:01:37you know

01:01:38then we end up

01:01:39hiring back the company

01:01:39to do the visual effects

01:01:40we became clients

01:01:42at ilm

01:01:43which is our worst nightmare

01:01:44after spawn

01:02:00i don't have a job

01:02:02no job

01:02:04so i was asked

01:02:06to do the visual effects

01:02:08on the hulk

01:02:09at ilm

01:02:10and then that article

01:02:13comes out about

01:02:14pencil neck geeks

01:02:15dennis mirin

01:02:26basically said

01:02:27how much more of this

01:02:28do we have to take

01:02:29i'm gone from ilm

01:02:33kicked out

01:02:34i was done with them

01:02:35they were done with me

01:02:36after all these years

01:02:41i'll never forget it

01:02:44what made him brilliant

01:02:48and a maverick

01:02:50and a magnetic draw

01:02:53for many of us

01:02:54soon became something

01:02:57that i felt

01:02:57he needed to outgrow

01:02:59she just didn't like

01:03:03she didn't like my antics

01:03:04she didn't like the drinking

01:03:06everybody who's with me

01:03:09changes

01:03:09right

01:03:10but they have to understand

01:03:11that i don't change

01:03:12i'm always the fucking same

01:03:13always

01:03:14right or wrong

01:03:15hmm

01:03:18what keeps me from

01:03:20what keeps me from changing

01:03:22stupidity

01:03:23i know nothing else

01:03:27he was really good

01:03:32in the therapy sessions

01:03:33and

01:03:33the moment we got home

01:03:36he was like

01:03:36oh fuck that shit

01:03:37you know

01:03:37i'm not gonna change

01:03:38you know

01:03:39this is who i am

01:03:40this is what people love

01:03:41this is what people expect

01:03:42i'm spaz

01:03:43you know

01:03:43and

01:03:44i kind of naively thought

01:03:46well

01:03:46let's give it some time

01:03:48and maybe we'll change

01:03:49give me a smile honey

01:03:54i'm just kind of in a rush

01:03:57right now

01:03:57as usual

01:03:57and as soon as

01:03:59hannah discovers i'm gone

01:04:00then i will have

01:04:01i figure it's a good thing

01:04:02is if i have the camera

01:04:03on you won't yell at me

01:04:05i won't yell at you

01:04:06that much

01:04:06excuse me

01:04:07please

01:04:08okay

01:04:09hi

01:04:10where are we going sweetie

01:04:13hey look

01:04:16visual effects supervisor

01:04:17strapped to the fence

01:04:18that's funny

01:04:19what i'm sorry

01:04:21what did i say

01:04:21what am i not allowed

01:04:23to do now

01:04:24my parents split up

01:04:27when i was three

01:04:28it kind of

01:04:30just

01:04:31became

01:04:32normal that my parents

01:04:33weren't together

01:04:34you know

01:04:35my mom

01:04:35moved to san rafael

01:04:37my dad still had the house

01:04:38steve decided to take

01:04:42his career in a new direction

01:04:44so he was off

01:04:45feature films

01:04:46and he was starting

01:04:46to direct commercials

01:04:47blockbuster campaign

01:04:52it was very successful

01:04:53we get approached

01:04:55by disney

01:04:56who has a film

01:04:57called the wild

01:04:58and so we end up

01:05:00working on this movie

01:05:01in 2003 i was working

01:05:03as an assistant editor

01:05:05for the movie the wild

01:05:06hello spaz

01:05:07i was just

01:05:10so in love with steve

01:05:12i really felt like he was my soulmate

01:05:14and we made

01:05:17a fantastic home together

01:05:19he put a lot of love and craftsmanship

01:05:28into that house

01:05:29it was a warm and cozy

01:05:31unique

01:05:31fun creative place to be

01:05:33we decided to get married

01:05:36in the backyard

01:05:36when we got back

01:05:51from toronto

01:05:52after the wild

01:05:52it was really hard

01:05:54for those of us

01:05:55on the film

01:05:56to get work

01:05:56because the film

01:05:57was so poorly received

01:05:59it was a drag

01:06:00it was a drag

01:06:01and then so i went back

01:06:02to commercials again

01:06:03which one would be better

01:06:05to knock a guy

01:06:07off the motorcycle

01:06:08road rash 3d

01:06:11you know

01:06:14either the flavor

01:06:15of the month

01:06:15or you're not

01:06:16it's just a very fickle business

01:06:20things just stalled

01:06:25for me

01:06:26the commercials

01:06:29those dried up

01:06:31nothing was really coming in

01:06:34that was substantial enough

01:06:35the world had changed

01:06:39sometimes you're rewarded

01:06:43by your longevity

01:06:45in doing things

01:06:47and you know

01:06:48those guys were relatively new

01:06:50to the game

01:06:51and they moved on

01:06:54very quickly

01:06:55to wanting to direct

01:06:57their own stuff

01:06:58so they moved into

01:07:00a whole nother zone

01:07:01and then they kind of

01:07:03didn't come back

01:07:04the problem with

01:07:07this racket

01:07:08is that

01:07:09if you're not

01:07:10in it

01:07:12then you're not in it

01:07:15he hadn't been in the game

01:07:18for a long time

01:07:19you know

01:07:21you just get forgotten

01:07:22I reapplied ILM

01:07:29they shut me down

01:07:33they don't want to be back there

01:07:36and I don't blame them

01:07:37I don't blame them at all

01:07:39if I've been more political

01:07:44I wouldn't be struggling

01:07:47right now

01:07:47to pay my goddamn mortgage

01:07:50that rejection

01:08:00on a big stage

01:08:02I don't think

01:08:05I'll ever

01:08:06know

01:08:07the true effects

01:08:09of what that feels like

01:08:11for him

01:08:11all of those feelings

01:08:14like

01:08:14just

01:08:15completely resurfaced

01:08:16and he didn't know

01:08:17how to handle it

01:08:18it was a snowball

01:08:23of

01:08:25bad memories

01:08:27guilt

01:08:28lack of clarity

01:08:30about certain things

01:08:31he just started

01:08:35drinking

01:08:36more

01:08:36it's a way to

01:08:40cover up all the

01:08:41things you feel

01:08:42shitty about

01:08:42we were down at the pub

01:08:46every single day

01:08:46drinking for about

01:08:47three hours

01:08:48every night

01:08:48and then that sort of

01:08:49grew into

01:08:50drinking before we

01:08:52went to the pub

01:08:52and

01:08:53just getting into

01:08:55just the worst

01:08:56knock down

01:08:58drag out

01:08:58awful fights

01:08:59when we got home

01:09:01so I finally

01:09:03worked up the courage

01:09:04to walk into

01:09:05an AA meeting

01:09:06you go

01:09:07you keep going back

01:09:08and I

01:09:09got sober

01:09:10I stayed sober

01:09:10and I'm going to

01:09:12sound like an AA

01:09:12thumper

01:09:13but by the grace

01:09:13of God

01:09:14I'm still sober

01:09:15and

01:09:15my marriage

01:09:16fell apart

01:09:17I knew that

01:09:20if I didn't

01:09:21move out

01:09:21I wouldn't

01:09:22stay sober

01:09:22it's common

01:09:25where

01:09:26two alcoholics

01:09:27one gets sober

01:09:28and the other

01:09:29doesn't

01:09:30well I thought

01:09:31we were doing

01:09:32okay

01:09:32no I'm doing

01:09:34fine

01:09:34you just drink

01:09:35more and more

01:09:36and more

01:09:36it's Monday

01:09:37for fuck's sake

01:09:38you're unemployed

01:09:39and you start

01:09:40drinking before noon

01:09:41Ellen please

01:09:43why

01:09:44why are you

01:09:45loving so much

01:09:47she left

01:09:53to light a fire

01:09:55under my dad's ass

01:09:56like hey

01:09:57you've got to

01:09:57clean up your act

01:09:58or I'm gone for good

01:09:59the train was going

01:10:01200 miles an hour

01:10:02I was either

01:10:04going to go

01:10:04into the wall

01:10:05with it

01:10:05or I was going

01:10:06to get off

01:10:07and hope that

01:10:08Steve could get off

01:10:09before it killed him

01:10:11so I think

01:10:12she wanted to

01:10:12scare him a little bit

01:10:13and it only

01:10:15made it worse

01:10:16boredom

01:10:24is destructive

01:10:26I'm just waiting

01:10:32for another mission

01:10:33I don't have

01:10:36a mission anymore

01:10:37he completely

01:10:43isolated himself

01:10:44lost a bunch

01:10:47of weight

01:10:47you know

01:10:49he just looked

01:10:50sick

01:10:50it was awful

01:10:52he was

01:10:54waking up

01:10:55at noon

01:10:55drinking

01:10:57passing out

01:10:59at 4

01:11:00waking up

01:11:01again

01:11:02at

01:11:027

01:11:03drinking

01:11:05passing out

01:11:06at midnight

01:11:07waking up

01:11:08at 4am

01:11:09to drink

01:11:10to see him

01:11:13plummet

01:11:16like head first

01:11:18into the deep

01:11:20end

01:11:21that was

01:11:23one of the

01:11:23hardest things

01:11:24to ever deal

01:11:25with

01:11:26I don't think

01:11:33it's going to

01:11:34end well

01:11:34for me

01:11:35god damn it

01:11:40I think

01:11:41it's going to

01:11:41end bad

01:11:42fuck you

01:12:06I'm pissed at myself

01:12:30I'm mad

01:12:31I fucking

01:12:39do it

01:12:40fucking

01:12:41do it

01:12:41I've never been

01:13:01an adult

01:13:01I've never

01:13:07been an adult

01:13:07I've only

01:13:08been

01:13:08I've been

01:13:10a child

01:13:11right

01:13:12that kind

01:13:12of

01:13:12grew up

01:13:14but

01:13:15you know

01:13:16love Saturday

01:13:19morning cartoons

01:13:20and I kind

01:13:21of wish

01:13:21that every day

01:13:22was a Saturday

01:13:22morning cartoon

01:13:23but it's not

01:13:24you know

01:13:25I'm an alcoholic

01:13:39and

01:13:43I lost my family

01:13:46I lost them all

01:13:51I just need a

01:13:57mission

01:13:58I have to invent

01:14:02the mission

01:14:03and what is the

01:14:07mission

01:14:07sober up

01:14:11hopefully that'll

01:14:14you know

01:14:16result

01:14:16and something

01:14:17that works

01:14:18out

01:14:19it's Diane

01:14:32she's a sweetheart

01:14:36I die

01:14:37Diane's a nurse

01:14:44she's an RN

01:14:45yeah

01:14:45she knows

01:14:48I'm a mess

01:14:48ready

01:14:50what are you

01:14:51drinking there

01:14:52a cider

01:14:53hard cider

01:14:54yeah

01:14:55can you not

01:14:56drink that please

01:14:56you're on

01:14:57the property

01:14:58I'm sorry

01:14:59alright

01:15:00don't drink that

01:15:01give me that

01:15:02no you

01:15:03you can't

01:15:04give it to him

01:15:06I'm sorry

01:15:06that's alright

01:15:08we gotta get you

01:15:09in nursing

01:15:09and get your

01:15:10intake done

01:15:11so you can

01:15:12grab your

01:15:13yeah if we'll

01:15:14leave your camera

01:15:14in her

01:15:15yeah I know

01:15:30so it was time

01:15:39to smarten up

01:15:40time to grow

01:15:43up

01:15:43I wouldn't be

01:15:50standing here

01:15:50if I had not

01:15:51made that decision

01:15:52eight months ago

01:15:53it's a lot

01:15:58quieter

01:15:58sort of shut

01:16:00down

01:16:00all the old

01:16:01ways

01:16:01all the old

01:16:02places

01:16:02all the old

01:16:03people

01:16:03you know

01:16:05now I'm just

01:16:05stuck with me

01:16:06which is good

01:16:08and bad

01:16:09I have to be

01:16:11very careful

01:16:12because beer

01:16:13was used to

01:16:14run away

01:16:14from myself

01:16:15and I have

01:16:16myself only

01:16:16and I have

01:16:17to be very

01:16:17very careful

01:16:18you know

01:16:20I always

01:16:21occupy my mind

01:16:22with things to do

01:16:23it's the most

01:16:24important thing

01:16:25even if it

01:16:27includes

01:16:28something

01:16:28so simple

01:16:29as doing

01:16:29the dishes

01:16:30being an adult

01:16:35is a very

01:16:35strange thing

01:16:36but looking

01:16:40in the mirror

01:16:40you're not

01:16:40frightened of

01:16:41yourself anymore

01:16:42so where the

01:16:45journey is going

01:16:46to take me

01:16:46now

01:16:46I don't know

01:16:47at 57

01:16:48it's a good

01:16:49question

01:16:49this is kind

01:16:52of like being

01:16:53at a bus depot

01:16:54and the next

01:16:55bus that comes

01:16:56along you don't

01:16:56know where

01:16:57it's going

01:16:58but while you're

01:16:59at the depot

01:17:00you get to pick

01:17:00up some of

01:17:01your old hobbies

01:17:02that you enjoyed

01:17:03not have the

01:17:04threat of taking

01:17:05your finger off

01:17:06because you've

01:17:06had a six pack

01:17:07he's a lot more

01:17:11self-aware

01:17:12now

01:17:14and he's a lot

01:17:15more aware

01:17:16of

01:17:17I'd say

01:17:18people and

01:17:19their needs

01:17:19I think

01:17:23the pain

01:17:24of certain

01:17:25things in

01:17:26his life

01:17:26will never

01:17:27go away

01:17:28but he still

01:17:32has so much

01:17:33to give

01:17:33welcome to

01:17:35the expert

01:17:36series

01:17:36we have

01:17:37Steve Williams

01:17:39he's here

01:17:40to share

01:17:41with you

01:17:41his expertise

01:17:42you guys

01:17:46are going

01:17:46to have a

01:17:46good time

01:17:47he's a lot

01:17:47of fun

01:17:48the thing

01:17:49about being

01:17:49an artist

01:17:49I want you

01:17:50guys to

01:17:50remember

01:17:50is that

01:17:51every time

01:17:51there's a

01:17:52plotted out

01:17:52path

01:17:53for you

01:17:53and rules

01:17:54fucking

01:17:55break them

01:17:56right

01:17:56remember

01:17:58art is

01:17:58always

01:17:59about

01:17:59questioning

01:18:00established

01:18:01systems

01:18:01to

01:18:04continue

01:18:04to be

01:18:05relevant

01:18:05that's

01:18:06what we

01:18:07all want

01:18:07is to

01:18:09have some

01:18:09kind of

01:18:10body of

01:18:10experience

01:18:10that's

01:18:11going to

01:18:11educate

01:18:12and inspire

01:18:13other people

01:18:13that's the

01:18:15gift of

01:18:16getting older

01:18:16you allow

01:18:18yourself

01:18:19to make

01:18:20mistakes

01:18:21like really

01:18:21big mistakes

01:18:22going through

01:18:24the wrong

01:18:24door

01:18:24and

01:18:25finding your

01:18:26way out

01:18:26that's

01:18:28where the

01:18:28gold is

01:18:28when you

01:18:29say

01:18:30pioneers

01:18:30it makes

01:18:31you think

01:18:31of a

01:18:31certain

01:18:32spirit

01:18:32of a

01:18:32person

01:18:33that's

01:18:33willing

01:18:33to go

01:18:33out

01:18:34and risk

01:18:34it all

01:18:35and go

01:18:35for it

01:18:36and face

01:18:36whatever

01:18:37dangers

01:18:37they're

01:18:37going to

01:18:38face

01:18:38and be

01:18:39willing

01:18:39to try

01:18:40and fail

01:18:40at things

01:18:41and take

01:18:42it to

01:18:43the next

01:18:44level

01:18:44I don't

01:18:45know when

01:18:46there's going

01:18:46to be

01:18:46another

01:18:47breakthrough

01:18:49that is

01:18:49as

01:18:50transformative

01:18:50as

01:18:51making the

01:18:52transition

01:18:53from

01:18:53old school

01:18:54effects

01:18:54to

01:18:55digital

01:18:55effects

01:18:56is new

01:18:57ground

01:18:57being

01:18:58broken

01:18:58today

01:18:59yeah

01:19:00but

01:19:00experimentation

01:19:01is left

01:19:02to scrappier

01:19:04upstart

01:19:04maverick

01:19:05people

01:19:05we're all

01:19:07believers in our

01:19:08point of view

01:19:09even though you have a lot of talent

01:19:10and you're very passionate

01:19:11it's still not easy to survive

01:19:13or to succeed in this world

01:19:15in some ways talented people are talented because they are able to stay in touch

01:19:30with sort of a childish nature in them

01:19:35your ability to touch pure reactions to things are kind of like seeing the world for the first time

01:19:45anyone who can draw on that kind of childish thinking has the opportunity for greatness

01:19:55the last time

01:19:58i would start to understand the world for the most important part of the video game

01:20:01and the recorded show it

01:20:03in the past

01:20:04media

01:20:04that sounds like

01:20:05a little bit

01:20:06just like

01:20:06a little bit

01:20:07there

01:20:07is

01:20:08the

01:20:08AND

01:20:09i'm

01:20:10and

01:20:10i'm

01:20:11and

01:20:11i'm

01:20:12and

01:20:12i'm

01:20:13and

01:20:13i'm

01:20:13and

01:20:14and

01:20:14i'm

01:20:14and

01:20:15and

01:20:16yeah

01:20:17and

01:20:18and

01:20:19and

01:20:20and

01:20:21Grazie a tutti.

01:20:51Grazie a tutti.

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