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If you like to know Ben Grossmann better - read this interview!
Ben, you were working for many well-known projects, but I would like to ask you about one particular - Hugo - movie that won an Oscar for special effects. How was your work with Martin Scorsese?
It was really fun actually. A lot of hard work but because it was his first kids movie, and his first 3D movie, he was a lot like a young director. Always excited to explore.
You started as a photographer. Now you are a famous professional. How many years it took you to reach the point where you are now?
Well, I don't know that I'm a famous professional yet, but I've been doing this for about 10 years now. But in those 10 years, I probably worked about 20 years, and aged 30 years. So it's up to you to decide how long it took.
'Hugo' is a magical family movie. How it was to working on this production?
It was very humbling because the movie is about the founder of visual effects. So for me, it was degree in film school with some of the greatest filmmakers in the present.
I've watched parts of making of special effects. It was really huge and complex undertaking. How many hours a day your team had been working?
The company essentially was working around the clock because of all the different offices working across timezones. Because I was the supervisor of the show, my crew and I tried to stay awake for as many of them as we could, but we usually got some sleep between the latter part of the day in Asia, and the beginning of the day in Europe. It was like that for about 8 months. Pretty much 6 to 7 days a week.
Which scene was the most challenging?
The shot at the beginning of the film that starts out wide on Paris, and then swoops through the station into Hugo's eyes in the clock. It was one of those shots that just had to have so much in it, it took nearly the whole schedule to create.
Do not you think that in the future the scenography will be completely displaced by the effects of purely computer-generated?
It's very likely, and is already happening in animation films. But it will be a long time before that's cheaper than shooting something for real in all cases.
Do you have a dream project, that you would like to work on someday?
I'd like to work on a project where they say "We want the best possible work, and you can have as much money and time as you need."
Do you have any hobbies, which takes your free time, if you have free time of course :) ?
I have no free time. If I had a hobby, it would be snipping tiny leaves off those little bonsai trees. That looks very relaxing.
What would you do in your life, if you were not a visual FX supervisor?
Believe me, I keep trying to figure that out. I'm very interested in creating cool experiences that you don't have to watch from a theater seat. There's so much more to a great experience than just sitting there watching someone else do it.
You currently working on a new project. Can you tell us something about it?
The new project is all in code names, and we're not even allowed to say we're working on it. I can tell you that it's also a lot of work, and will be pretty damn cool if we don't screw it up first.
Thank you for interview. We're looking forward for your new project.
Ever struggle to light exterior scenes in 3D? In this video, we'll have a look at a cinematic lighting framework, inspired by filmmaking techniques, to elevate your 3D art.
Ever struggle to light exterior scenes in 3D? In this video, we'll have a look at a cinematic lighting framework, inspired by filmmaking techniques, to elevate your 3D art.
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