Let’s talk about Mark Sullivan, remember, the incredible matte painting of the tree for “Hook”. He is one of my favourite matte painter. He started working in traditional way, and evolved through the digital technique. His work is really inspiring. His credits include Indiana Jones and the last Crusade, The Abyss, Backdraft, Hook, Star Wars episode 1 and 2, Apocalypto…
When someone ask me why I decided to become a matte painter, my answer is always the same : because the matte painting made at ILM during the 80’s are amazing ! And when someone ask me what movie I enjoyed the most when I was a kid, my answer is always the same : Willow, directed by Ron Howard.
That’s why I’m so proud to share with you today an exclusive interview with one of the most inspiring Matte Painter, who actually worked at ILM in the 80’s, on Willow. Let’s take few minutes to talk to Paul Swendsen.
Thank you so much Paul for your very detailed answers. It’s a real privilege to have the opportunity to listen to your amazing stories.
David Stipes is a two time Emmy® Award winner with over 30 years of experience in the film industry in various aspects of visual effects and animation.
David worked as a Visual Effects Supervisor on four Star Trek
series: “The Next Generation,” “Voyager,” “Deep Space Nine,” and
“Enterprise”. David championed the use of computer-generated imagery (CGI) for Star Trek, which completely changed how the visual effects are created for the shows.
Prior to Star Trek, David created visual effects for a number of science fiction television series including “Buck Rogers,” “Battlestar Galactica,”The Flash,” “V” and “Intruders.”
David also operated his own studio for more than 12 years producing visual effects for such feature films as “Circuitry Man,” “Creepshow,” “Lawnmower Man,” and “Real Genius.” David has had over twenty industry related articles published and is currently an instructor at The Art Institute of Phoenix.
He accepted to share with us some of his photos and tell us more about it.
Buck Rogers in 25th Century” TV show. (1979) I am standing in front of a multi-plane matte painting set-up. Painting is by Dan Curry who later went on to become a Visual Effects Supervisor and Producer on “Star Trek.” This kind of set up allowed layers of glass to slide and provide drifting cloud effects.