To make you wait until new interviews, here’s the video of a VFX legend, Mr Douglas Trumbull:

It was a conference for the symposium Imaging the Future 2010 (for which I help as a consultant) that took place in Neuchatel, Switzerland in July.

A big thanks to Michael Vust of NIFFF for this video.

After several years at London Computer Film Company, Adrian de Wet goes to California at ESC Entertainment to work on THE MATRIX RELOADED. Back in London, he worked for many studios such as Framestore, MPC and Double Negative, that he joined in 2007.

In the following interview, he talks to us about his work the magical effects on THE SORCERER’S APPRENTICE.

To read the interview, click here.

// Original version: English.

A new link was added to the interview of Stephane Ceretti for PRINCE OF PERSIA:

-MPC Breakdown: VFX Breakdown for PRINCE OF PERSIA.

After his studies in Switzerland, Simon Christen came to California to study at the Academy of Art University in San Francisco. After graduation, he took a first job at Pixar and then Disney before going back at Pixar, where he has worked since on RATATOUILLE, UP and TOY STORY 3.

In the following interview, he talks to us about his work on TOY STORY 3.

To read the interview, click here.

// Original version: English.

After beginning his career at Digital Film and MPC, Paul Franklin helps to the creation of the studio Double Negative in 1998. Since then he has supervised projects such as THE LEAGUE OF EXTRAORDINARY GENTLEMEN and HARRY
POTTER AND THE ORDER OF THE PHOENIX and has supervised all the movies of Christopher Nolan since BATMAN BEGINS.

In the following interview, he talks to us about his work on INCEPTION.

To read the interview, click here.

// Original version: English.

Ara Khanikian evolves in the midst of visual effects of Montreal since nearly 10 years, he has gone through many studios like Buzz Image, Hybride or Rodeo FX. He has worked on projects such as THE FOUNTAIN, 300, THE X-FILES, TERMINATOR SALVATION or TWILIGHT: ECLIPSE.

In the following interview, he talks to us about his work on JONAH HEX.

To read the interview, click here.

// Original version: English.

AtRhythm & Hues for nearly 15 years, Bill Westenhofer has overseen many projects such as BABE, STUART LITTLE, CATS & DOGS, MEN IN BLACK 2 or THE CHRONICLES OF NARNIA. In 2008, he received an Academy Award ® for Achievement in Visual Effects for his work on THE GOLDEN COMPASS.

In the following interview, he talks to us about his work on THE A-TEAM.

To read the interview, click here.

// Original version: English.

After working several years at MillFilm on films such as BABE 2, GLADIATOR or LARA CROFT, Ben Morris joined Framestore in 2000 and participate on projects such as TROY, CHARLIE AND THE CHOCOLATE FACTORY and as visual effects supervisor on THE GOLDEN COMPASS and PRINCE OF PERSIA.

In the following interview, he talks to us about his work on PRINCE OF PERSIA.

To read the interview, click here.

// Original version: English.

Stephane Ceretti worked for nearly 12 years at BUF in Paris on films such as ALEXANDER, MATRIX 2 and 3, HARRY POTTER 4 or BATMAN BEGINS. Then he moved to MPC in London as VFX supervisor on PRINCE OF PERSIA. Since this film, he joined Method Studios still in London, where he oversaw THE SORCERER’S APPRENTICE.

In the following interview, he talks to us about his work on PRINCE OF PERSIA.

To read the interview, click here.

// Original version: English.

Sue Rowe is one of the few female VFX supervisors in the business. She works at Cinesite for over 10 years and oversaw movies such as TROY, CHARLIE AND THE CHOCOLATE FACTORY, X-MEN 3 or THE GOLDEN COMPASS. She just finished the visual effects of PRINCE OF PERSIA.

In the following interview, she talks to us about her work on PRINCE OF PERSIA.

To read the interview, click here

// Original version: English

Michael Bruce Ellis worked for over 10 years at Double Negative, he begins at the roto department of the studio and then quickly rise and is visual effects supervisor on movies such as WORLD TRADE CENTER or CLOVERFIELD. He recently completed the visual effects of PRINCE OF PERSIA.

In the following interview, he talks about his work on PRINCE OF PERSIA.

To read the interview, click here

// Original version: English

Founded in 2006 by Josh Comen, Comen VFX has participated in many projects including TV series like THE SOPRANOS or WEEDS and on movies such as A PERFECT GETAWAY, NEXT, RISE or THE SPY NEXT DOOR.

In the following interview, they talk about their work on THE CRAZIES.

To read the interview, click here

// Original version: English

After starting his career in 1992 at Animal Logic, Richard Stammers joined MPC in 1995. He participates in many projects of the studio and work as vfx supervisor on such movies as WIMBLEDON, THE DA VINCI CODE and its sequel ANGELS & DEMONS or ELIZABETH: THE GOLDEN AGE.

In the following interview, he talks about his work on ROBIN HOOD.

To read the interview, click here

// Original version: English

After working at Mill Film for HARRY POTTER AND THE CHAMBER OF SECRETS, Ged Wright joined Double Negative in 2002 and works on HARRY POTTER AND THE GOBLET OF FIRE, HARRY POTTER AND THE ORDER OF THE PHENIX or 10,000 BC. He has just finished overseeing IRON MAN 2.

In the following interview, he talks about his work on IRON MAN 2.

To read the interview, click here

// Original version: English

Danny Yount started as an self-taught designer and creates film credits in Prologue Films for projects such as IRON MAN or ROCKnROLLA.

In the following interview, he talks about his work on IRON MAN 2.

To read the interview, click here

// Original version: English

After banking studies in Switzerland, Simon Otto pass through Les Gobelins animation school before being hired by Dreamworks Animation. It was In 1997 and since Simon has not left Dreamworks and worked almost all projects in the studio as THE PRINCE OF EGYPT, SPIRIT, SINBAD, FLUSHED AWAY as a animator and lead animator. He recently completed HOW TO TRAIN YOUR DRAGON on which he was head of character animation.

In the following interview, he talks about his career and his work on HOW TO TRAIN YOUR DRAGON.

To read the interview, click here

// Original version: English

Coming from Sweden, Mattias Lindahl began his career at Lego, then he left for London where he worked at Jim Henson’s Creature Shop and at Double Negative in 2001. After nearly 10 years at Double Negative, he returned to Sweden this year and works at Fido.

In the following interview, he talks about his work on KICK ASS.

To read the interview, click here

// Original version: English

Neil Huxley has worked more than 5 years at Digital Pictures Iloura as Flame operator before coming to the United States where he worked as art director on movies such as GAMER or WATCHMEN at yU+co. It’s him that create the beautiful opening title sequence of this show. In 2009, he joined Prime Focus.

In the following interview, he talks about his work on AVATAR.

To read the interview, click here

// Original version: English

Arno Fouquet and Christian Guillon from L’E.S.T. were responsible for general visual effects supervision on OCEANS, the new documentary feature by Jacques Perrin. The visual effects were dispatched between BUF, Mikros Image and Def2Shoot.

In the following interview, Arno Fouquet talks about L’E.S.T. and his work on OCEANS.

To read the interview, click here

// Original version: French

Charlie Noble works in visual effects for over 15 years. He joined Double Negative at its beginnings in working on PITCH BLACK. He will participate by result in numerous projects from studios like ENEMY AT THE GATES, FLYBOYS or THE DARK KNIGHT. He has also supervised THE BOURNE ULTIMATUM directed by Paul Greengrass, that he meet again on GREEN ZONE.

In the following interview, he talks about his work on the invisible effects of GREEN ZONE.

To read the interview, click here

// Original version: English