Scott Leberecht's guest appearances

Scott Leberecht

CG Garage

The Cinematography Podcast

The Filmumentaries Podcast

8111

OwlTail

Director Scott Leberecht began his filmmaking career as a visual effects art director at Lucasfilm’s Industrial Light &amp; Magic. His latest documentary film, Jurassic Punk, is about his fellow ILM effects artist Steve “Spaz” Williams. A talented artist, Steve pioneered computer animation VFX in movies, creating the alien effects for The Abyss and the morphing transitions for the “T-100” in Terminator 2: Judgement Day. Steve's most ambitious and revolutionary work for the movie and VFX industry was his work on the completely computer animated dinosaurs for 1993's Jurassic Park.Scott met Steve during his internship at ILM. Jurassic Punk was originally meant to be about the whole ILM ensemble at that pivotal time between The Abyss and Jurassic Park. But as Scott gathered the stories, he realized that he needed a main character who had an interesting arc, and Steve definitely fit the profile. Steve's work on Jurassic Park had never been properly acknowledged, with credit for the visual effects going mainly to Phil Tippett and Dennis Muren. Steve himself was always a notoriously difficult, hard-drinking asshole who had trouble fitting into the corporate structure of ILM. Scott found it hard to shoot Steve's interviews for Jurassic Punk, since his friend was at such a low point in his life. But Steve understood that Scott was trying to tell the story of what life can be like for a creative worker who gives their all, only to be left with little credit or money. Scott sees Jurassic Punk as telling two cautionary tales: be careful about innovating within corporate structures, and ensure that the people who create the art are properly acknowledged.Life After Pi, a documentary short Scott made with Christina Lee Storm in 2014, is also a personal story about working in the VFX industry. Shortly before winning the Oscar for their special effects in Life of Pi, the visual effects studio Rhythm &amp; Hues filed for bankruptcy. Scott had been working for the company for about six months when everyone was fired. The doc explores what's been happening to the visual effects industry, as work is outsourced and it becomes a race to the bottom for the cheapest price. There was a very short window of time after Rhythm &amp; Hues' collapse where effects workers could speak their mind, even staging a demonstration outside the Academy Awards that year. Today, effects workers continue to voice their need to form a union, as the quality of effects work declines while studios demand cheaper VFX done at an even faster pace.You can watch Jurassic Punk streaming on Amazon and Kanopy.Life After Pi is on YouTube.Midnight Son has just been released on Blu-Ray and features a soundtrack by Kays Al-AtrakchiFind Find Scott Leberecht: https://www.jurassicpunkmovie.com/Instagram: @jurassicpunkmovieSponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.comYouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepodInstagram: @thecinepodTwitter: @ShortEndz

Director Scott Leberecht began his filmmaking career as a visual effects art director at Lucasfilm’s Industrial Light &amp; Magic. His latest documentary film, Jurassic Punk, is about his fellow ILM effects artist Steve “Spaz” Williams. A talented artist, Steve pioneered computer animation VFX in movies, creating the alien effects for The Abyss and the morphing transitions for the “T-100” in Terminator 2: Judgement Day. Steve's most ambitious and revolutionary work for the movie and VFX industry was his work on the completely computer animated dinosaurs for 1993's Jurassic Park. Scott met Steve during his internship at ILM. Jurassic Punk was originally meant to be about the whole ILM ensemble at that pivotal time between The Abyss and Jurassic Park. But as Scott gathered the stories, he realized that he needed a main character who had an interesting arc, and Steve definitely fit the profile. Steve's work on Jurassic Park had never been properly acknowledged, with credit for the visual effects going mainly to Phil Tippett and Dennis Muren. Steve himself was always a notoriously difficult, hard-drinking asshole who had trouble fitting into the corporate structure of ILM. Scott found it hard to shoot Steve's interviews for Jurassic Punk, since his friend was at such a low point in his life. But Steve understood that Scott was trying to tell the story of what life can be like for a creative worker who gives their all, only to be left with little credit or money. Scott sees Jurassic Punk as telling two cautionary tales: be careful about innovating within corporate structures, and ensure that the people who create the art are properly acknowledged. Life After Pi, a documentary short Scott made with Christina Lee Storm in 2014, is also a personal story about working in the VFX industry. Shortly before winning the Oscar for their special effects in Life of Pi, the visual effects studio Rhythm &amp; Hues filed for bankruptcy. Scott had been working for the company for about six months when everyone was fired. The doc explores what's been happening to the visual effects industry, as work is outsourced and it becomes a race to the bottom for the cheapest price. There was a very short window of time after Rhythm &amp; Hues' collapse where effects workers could speak their mind, even staging a demonstration outside the Academy Awards that year. Today, effects workers continue to voice their need to form a union, as the quality of effects work declines while studios demand cheaper VFX done at an even faster pace. You can watch Jurassic Punk streaming on Amazon and Kanopy. Life After Pi is on YouTube. Midnight Son has just been released on Blu-Ray and features a soundtrack by Kays Al-Atrakchi Find Find Scott Leberecht: <a href="https://www.jurassicpunkmovie.com/" rel="nofollow" target="_blank">https://www.jurassicpunkmovie.com/</a> Instagram: @jurassicpunkmovie Sponsored by Hot Rod Cameras: <a href="http://www.hotrodcameras.com" rel="nofollow" target="_blank">www.hotrodcameras.com</a> The Cinematography Podcast website: <a href="http://www.camnoir.com" rel="nofollow" target="_blank">www.camnoir.com</a> YouTube: <a href="https://www.youtube.com/c/TheCinematographyPodcast" rel="nofollow" target="_blank">https://www.youtube.com/c/TheCinematographyPodcast</a> Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Jurassic Punk, Life After Pi, Midnight Son director Scott Leberecht

Steve Williams

Now as any historian should, I like to hear differing points of view from people, in my case the memories of people who worked on the same movies.I like to dig deeper than just the surface level or accepted version of events. Those things that have become mythologised in “making ofs” and articles for years. The more breadth I can find in the narratives I record, the more interesting it becomes.Now you may recognise Steve Williams' story if you’ve seen… and I hate to say it because I dislike this show with strong feelings, The Movies That Made Us. Yes Steve, is the guy who made the T-rex skeleton against the wishes of his superiors and made sure it was seen by producer Kathleen Kennedy in the pre-production days on Jurassic Park. This series of events changed the movie industry forever. You may say that this could have been to any number of VFX artists, and who knows how close other artists may have been to making a similar breakthrough, but this is firmly in the history of Steve Williams himself. He was that guy.Scott Leberecht has directed Jurassic Punk, a feature-length documentary all about Steve. Warts and all. Just a couple of weeks ago I emailed Steve after a kind friend sent his email address over. Almost immediately Steve called me on the phone. He’s great to talk with, very fun, very smart, we talked about UK sitcoms, Rugby and the fact that he’d travelled quite extensively, even to my home town… but he also carries this burden this story. The documentary is very open and honest about Steve’s issues with alcohol, his tempestuous career and seeks to shed more light on his impact on the VFX business.There are a few swears in this conversation and I also wanted to point out that Steve misunderstood one of my questions to Scott about showing his early documentary cuts to friends… regardless of that I had a fun chat with both of these gents.So here’s my conversation with Steve Williams (VFX artist) and Scott Leberecht (the director of the new documentary Jurassic Punk).https://www.jurassicpunkmovie.com/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5530733/advertisement

Now as any historian should, I like to hear differing points of view from people, in my case the memories of people who worked on the same movies. I like to dig deeper than just the surface level or accepted version of events. Those things that have become mythologised in “making ofs” and articles for years. The more breadth I can find in the narratives I record, the more interesting it becomes. Now you may recognise Steve Williams' story if you’ve seen… and I hate to say it because I dislike this show with strong feelings, The Movies That Made Us. Yes Steve, is the guy who made the T-rex skeleton against the wishes of his superiors and made sure it was seen by producer Kathleen Kennedy in the pre-production days on Jurassic Park. This series of events changed the movie industry forever. You may say that this could have been to any number of VFX artists, and who knows how close other artists may have been to making a similar breakthrough, but this is firmly in the history of Steve Williams himself. He was that guy. Scott Leberecht has directed Jurassic Punk, a feature-length documentary all about Steve. Warts and all. Just a couple of weeks ago I emailed Steve after a kind friend sent his email address over. Almost immediately Steve called me on the phone. He’s great to talk with, very fun, very smart, we talked about UK sitcoms, Rugby and the fact that he’d travelled quite extensively, even to my home town… but he also carries this burden this story. The documentary is very open and honest about Steve’s issues with alcohol, his tempestuous career and seeks to shed more light on his impact on the VFX business. There are a few swears in this conversation and I also wanted to point out that Steve misunderstood one of my questions to Scott about showing his early documentary cuts to friends… regardless of that I had a fun chat with both of these gents. So here’s my conversation with Steve Williams (VFX artist) and Scott Leberecht (the director of the new documentary Jurassic Punk). <a href="https://www.jurassicpunkmovie.com/" rel="nofollow" target="_blank">https://www.jurassicpunkmovie.com/</a> This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at <a href="https://www.spreaker.com/show/5530733/advertisement" rel="nofollow" target="_blank">https://www.spreaker.com/show/5530733/advertisement</a>

64 - Steve Williams & Scott Leberecht - Jurassic Punk Documentary

Break out the Martini, the CG Garage Podcast is 400 episodes old! To celebrate its quatercentenary, Chris has attracted a very special guest star: director Scott Leberecht, whose new documentary, Jurassic Punk, explores the impact VFX pioneer Steve Williams had on the movie industry via films including The Abyss, Terminator 2, Jurassic Park, and Spawn. In doing so, Scott sheds light on the turbulent history of VFX, including how studios present themselves and their work, the knock-on effect of Jurassic Park on movies, and how Williams’ creative genius and outspoken personality caused friction with the corporate world. What’s impressive is that even after 400 episodes, Chris is still uncovering fascinating new stories and exciting perspectives on VFX — and there are sure to be plenty more.

Break out the Martini, the CG Garage Podcast is 400 episodes old! To celebrate its quatercentenary, Chris has attracted a very special guest star: director Scott Leberecht, whose new documentary, Jurassic Punk, explores the impact VFX pioneer Steve Williams had on the movie industry via films including The Abyss, Terminator 2, Jurassic Park, and Spawn. In doing so, Scott sheds light on the turbulent history of VFX, including how studios present themselves and their work, the knock-on effect of Jurassic Park on movies, and how Williams’ creative genius and outspoken personality caused friction with the corporate world. What’s impressive is that even after 400 episodes, Chris is still uncovering fascinating new stories and exciting perspectives on VFX — and there are sure to be plenty more.

Episode 400 - Scott Leberecht - Director, “Jurassic Punk”

This week on 8111, Scott Leberecht! Scott grew up in Cincinnati, Ohio the middle of three bothers. His dad was an optician and his mom was an elementary school teacher. Drawing was always something that he was interested in, and good at. He studied industrial design at University of Cincinnati with a goal of may be making toys for Kenner where he'd worked part-time as part of a co-op program. In school he met fellow ILM alum George Hull. And he discovered that ILM model maker Charlie Bailey had also attended his school years earlier. School set the path toward ILM. At 24 Scott became an intern in ILM art department. The internship turned into a job where he would work for the next six years. Scott's credits include films like Flubber, 101 Dalmatians, Spawn, an un-produced Hulk movie, and Sleepy Hollow. With friends at ILM Scott made a few short films including the infamous "Spirit of Spawn" which you can see on YouTube. Scott left ILM and moved to LA where he went to grad school at AFI. He kept working on film projects as an art director to make money. After AFI he made his first feature film, Midnight Son. He was working at Rhythm &amp; Hues when the studio went bankrupt at the same time it won the Oscar for Life of Pi. Scott made the film "Life After Pi" that explored the effects of the commodification of visual effects and how it destroyed many people's livelihoods. Scott wanted to make another film and wound up crafting the film "Spaz" which follows the career ups and downs of ILM's Steve Williams. The film premiered at SXSW 2022 and is in the process of being sold. Today Scott works at Valve in Seattle. It was a total blast chatting with Scott and hearing about his journey and his new film. There's no doubt another film in the near future. 

This week on 8111, Scott Leberecht! Scott grew up in Cincinnati, Ohio the middle of three bothers. His dad was an optician and his mom was an elementary school teacher. Drawing was always something that he was interested in, and good at. He studied industrial design at University of Cincinnati with a goal of may be making toys for Kenner where he'd worked part-time as part of a co-op program. In school he met fellow ILM alum George Hull. And he discovered that ILM model maker Charlie Bailey had also attended his school years earlier. School set the path toward ILM. At 24 Scott became an intern in ILM art department. The internship turned into a job where he would work for the next six years. Scott's credits include films like Flubber, 101 Dalmatians, Spawn, an un-produced Hulk movie, and Sleepy Hollow. With friends at ILM Scott made a few short films including the infamous "Spirit of Spawn" which you can see on <a href="https://www.youtube.com/watch?v=qypKHsobF2Q" rel="nofollow" target="_blank">YouTube</a>.  Scott left ILM and moved to LA where he went to grad school at AFI. He kept working on film projects as an art director to make money. After AFI he made his first feature film, Midnight Son. He was working at Rhythm &amp; Hues when the studio went bankrupt at the same time it won the Oscar for Life of Pi. Scott made the film "Life After Pi" that explored the effects of the commodification of visual effects and how it destroyed many people's livelihoods.  Scott wanted to make another film and wound up crafting the film "Spaz" which follows the career ups and downs of ILM's Steve Williams. The film premiered at SXSW 2022 and is in the process of being sold.  Today Scott works at Valve in Seattle. It was a total blast chatting with Scott and hearing about his journey and his new film. There's no doubt another film in the near future.