With the bankruptcy of top-tier VFX house Rhythm & Hues the troubles in that sector of the business are crystallized. We talk with two visual effects pros about the woes facing these artists. Plus, 2012 Oscar winners on how the win changed their lives.
FROM THIS EPISODE
Kim Masters and John Horn, film writer for the Los Angeles Times, discuss some of this week's top Hollywood news stories.
- Neilson expands its definition of TV viewing to include a variety of streaming options and DVR.
- Contestant on A&E's Storage Wars files papers in a lawsuit that hearken back to the quiz show controversies of old.
- Former interns sue Fox for not abiding by the legal definition of internship which could have implications beyond Hollywood.
Three of 2012's Oscar winners reflect on the past year since they took home the statuette. T.J. Martin won with his producing partner, Daniel Lindsay for the feature documentary Undefeated. Sharmeen Obaid Chinoy won for the short documentary Saving Face. William Joyce won for co-directing the short animated film The Fantastic Flying Books of Mr. Morris Lessmore.
Even as Hollywood relies on stunning visual effects to bring people to the movie theater, the artists who make those spectacles are struggling. This issue became crystallized when the top-tier VFX house Rhythm & Hues filed for bankruptcy even as it was racking up awards for its spectacular work on Life of Pi. We talk with two veteran visual effects supervisors about what's happening in that sector of the industry. Craig Barron has credits like Alice in Wonderland and Hugo. He won an Oscar for The Curious Case of Benjamin Button. He ran the boutique VFX house Matte World Digital for 24 years, but late last year it had to close its doors. Now he works for Tippett Studio. Jeff Okun is a VFX supervisor at Prana Studios and is Chairman of the Board for the Visual Effects Society.
More From The Business
Mike White on 'Brad's Status,' social media and ambition In writer-director Mike White's new movie Brad's Status, Ben Stiller plays a man consumed with jealousy of friends from college, based on their social media. White tells us why he wanted to make a movie about ambition in the age of Instagram, and the challenge of making humanist movies when the studios only want the next superhero franchise.
In ‘The Deuce,’ David Simon follows the money of the porn industry When David Simon started shopping his new show The Deuce--about the rise and legalization of the porn industry--he quickly realized a lot of networks didn’t quite grasp his seriousness of purpose. The creator of The Wire and Treme tells us how The Deuce ended up back at his longtime TV home, HBO, and why he ended up making a show about porn in the first place.
Revisiting Shawn Levy: 'Stranger Things' & redefining his career Director Shawn Levy built a career on the Night at the Museum franchise, but wanted to break out of his box. He set out to produce, and this past year scored with the Netflix mega-hit Stranger Things, now up for 18 Emmys. He tells us how he went about getting the industry to reconsider him.
Chuck Lorre branches out with 'Disjointed' and 'Young Sheldon' TV writer-producer Chuck Lorre has created some of the most successful multi-camera broadcast sitcoms ever, including Two and a Half Men, and The Big Bang Theory. Now he's entering a new stage in his career with two projects -- the Netflix pot comedy Disjointed and the single camera show Young Sheldon for CBS--that are pushing him outside his previous purview.
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