On this week's show, we air the first half of our interview with Mark Weingartner, Visual Effects Director of Photography, who came down to the studio and took the time to explain some of the most complex visual effects sequences and talk about his experiences that led him to be one of the leading Visual Effects Supervisors in Hollywood. We talk about how to make "grist for the digital mill" and the distinction between visual effects and practical effects and we discovered that sometimes, talking about guilty movie pleasures can be more fun than talking about the big shows as we loop back around three times to Under Siege!
Happy Thanksgiving, Cinemaniacs! What are you thankful for this year? We here at Cinematic Immunity are grateful for many things: For the wise and witty guests that have sat down with us each week since our first episode back in February, for the generous support of our friends, families and colleagues - including Steve Hopkins, for providing the space to sit down with those guests! - and, of course, we're thankful for our loyal listeners, for subscribing to the podcast and sharing Cinematic Immunity with your friends week after week. Thank you all for helping Cinematic Immunity continue to grow and bring you first-person stories about the art and craft of movie-making! We couldn't do it without you - and we wouldn't want to anyway!
Now, just because we're about to slip into our annual food-comas doesn't mean we're not going to have a brand new episode for you when we wake up in a few days... On Tuesday, we'll bring you an interview with cinematographer and visual effects master, Christopher Warren.
Like so many C.I. guests before him, Chris Warren is a third-generation filmmaker. He was, "...born with an Academy Award already in the family," (that of his grandfather, Gene Warren), and grew up experiencing the magic of Hollywood in ways that most of us can only dream of. In one story you'll hear in episode 35, Chris recalls being a child and asking his father, Gene Warren, Jr., what he was doing. His dad's reply? "We're making boots for Planet of the Apes."
It isn't hard to understand why Chris says things like, "I love what I do, so I can't wait to get to work," and, "I can't see myself doing anything else."
On Tuesday, whip up a leftover-turkey sandwich, grab another slice of pumpkin pie, and check back right here for more of Chris Warren's tales of growing up on-set, and get his take on the past, present and future of visual effects and filmmaking.
Sometimes you find yourself with some fake blood in your mouth and a couple of drinking straws - because that's how you get things done in this business. At least, it is when you're a special effects makeup artist, like next week's Cinematic Immunity guest, David Mendez.
On Tuesday, you'll get to hear the multi-talented Mendez brake down the makeup department for us, with a special focus on special-effects. We'll talk about the tools of his trade (fake blood and drinking straws are only two of them), the challenges of creating looks for film, his influences, and how Captain Kirk taught him to fight. He also explains how being a U.S. Army Infantryman compares to working on a movie set, and how it has helped his stunt coordinator work. Plus, we talk set safety, the process of getting union membership, and the wonders of technology - because walkie-talkies are your friend!
Check back on Tuesday for David's interview, and don't forget to follow us on all your favorite social networks (Tinder not included).
Next week, we sit down with David Stump, A.S.C., and discuss such topics as the iconic train sequence in Stand By Me, Rambo III's "muscle lighting," Beetlejuice, and Army of Darkness. Plus, we talk about Quantum of Solace and forgetting to steal things, Star Trek: First Contact and Patrick Stuart's eyeball work, and we visit post-apocalyptic Kansas, go for a ride in a certain time-traveling Delorean once more, and Louis loves on David's book, Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows.
David Stump has worn many filmmaking hats over last thirty-plus years. He's been a producer, a director, a cinematographer, an author, a visual effects supervisor, an effects cameraman - and he has an Academy Award for Scientific & Technical Achievement. He's worked on some of the most memorable films from the last three decades, and is generous enough to share his knowledge with world through his excellent book and articles on filmmaking.
Dean Cundey reigns supreme as one of the best, most prolific, and talented cinematographers to ever grace celluloid with his often striking and accomplished photography. From Jurassic Park to Back to the Future and Apollo 13, this guy was the cameraman. Make sure to catch our podcast on Tuesday with Dean Cundey! Not to be missed.