Visual effects pioneer Douglas Trumbull, one of the masterminds behind the visual effects on some of the most visually audacious science fiction films of all time, including “2001: A Space Odyssey,” “Close Encounters of the Third Kind” and “Blade Runner,” died Monday from complications from mesothelioma. He was 79.
His daughter Amy wrote on Facebook. that he had cancer, a brain tumor and a stroke.
“My sister Andromeda and I got to see him on Saturday and tell him that he love him and we got to tell him to enjoy and embrace his journey into the Great Beyond,” she wrote.
He shared Oscar nominations for best visual effects for “Close Encounters,” “Star Trek: The Motion Picture” and “Blade Runner.”
Trumbull also oversaw the visual effects on “Silent Running,” “The Andromeda Strain” and “Star Trek: The Motion Picture,” and he directed eco-sci-fi film “Silent Running” and Natalie Wood-starring “Brainstorm.”
Trumbull...
His daughter Amy wrote on Facebook. that he had cancer, a brain tumor and a stroke.
“My sister Andromeda and I got to see him on Saturday and tell him that he love him and we got to tell him to enjoy and embrace his journey into the Great Beyond,” she wrote.
He shared Oscar nominations for best visual effects for “Close Encounters,” “Star Trek: The Motion Picture” and “Blade Runner.”
Trumbull also oversaw the visual effects on “Silent Running,” “The Andromeda Strain” and “Star Trek: The Motion Picture,” and he directed eco-sci-fi film “Silent Running” and Natalie Wood-starring “Brainstorm.”
Trumbull...
- 2/8/2022
- by Carmel Dagan
- Variety Film + TV
When Stanley Kubrick’s “2001: A Space Odyssey” opened in April 1968, few in the audience understood it, though most would never admit it. All they knew was they had just seen something like they had never seen before.
The Cannes Film Festival will celebrate the 50th anniversary of “2001: A Space Odyssey” with the world premiere of an unrestored 70mm print, introduced by Christopher Nolan, May 12.
Filmmaker James Cameron was no different. At age 14, he took the film in at the Castle Theatre in Toronto — where, as in many cities, it played continuously for two years. “The word used to describe it was ‘mindblowing,’” he recalls. “It was like no cinematic journey like I’d ever seen before.”
Kubrick’s space epic hurled science fiction films far beyond the edges of the galaxy that they had inhabited up to that time. It brought a massive shift in sci-fi storytelling, as...
The Cannes Film Festival will celebrate the 50th anniversary of “2001: A Space Odyssey” with the world premiere of an unrestored 70mm print, introduced by Christopher Nolan, May 12.
Filmmaker James Cameron was no different. At age 14, he took the film in at the Castle Theatre in Toronto — where, as in many cities, it played continuously for two years. “The word used to describe it was ‘mindblowing,’” he recalls. “It was like no cinematic journey like I’d ever seen before.”
Kubrick’s space epic hurled science fiction films far beyond the edges of the galaxy that they had inhabited up to that time. It brought a massive shift in sci-fi storytelling, as...
- 5/11/2018
- by Matt Hurwitz
- Variety Film + TV
With its cosmic ambitions that still somehow achieved a universal appeal, 2001: A Space Odyssey is a film that has immersed audiences in its unique and singular vision for fifty years, and few were more immersed in the pioneering film than lifelong visual effects wizard Douglas Trumbull.
Working as a contractor on preliminary design work at production house, Graphic Films back when the film was still called Journey Beyond The Stars, Trumbull stayed with the film even as Graphics Film was let go by necessity, and the production moved to England. “I cold-called Kubrick from a telephone number I found in the (Graphic Films) office and I think he was impressed with what I had to say,” Trumbull said. “He contacted my boss (Con Pederson) and he helped arrange my flight tickets to England. I was never actually contracted for the film. I was originally told I would only be needed for about nine months,...
Working as a contractor on preliminary design work at production house, Graphic Films back when the film was still called Journey Beyond The Stars, Trumbull stayed with the film even as Graphics Film was let go by necessity, and the production moved to England. “I cold-called Kubrick from a telephone number I found in the (Graphic Films) office and I think he was impressed with what I had to say,” Trumbull said. “He contacted my boss (Con Pederson) and he helped arrange my flight tickets to England. I was never actually contracted for the film. I was originally told I would only be needed for about nine months,...
- 4/16/2018
- by The Film Stage
- The Film Stage
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