MARK DIPPÉ (Director) joined Industrial Light + Magic in 1988
after a perilously long stint as a peripatetic, yet decorated, student.
In the eight years that followed, DippÈ's innovative genius played
a pivotal role in the creation of the ground-breaking 3D computer animation
and other special visual effects for films such as The Abyss, Terminator
2: Judgment Day and Jurassic Park, each of which earned an Academy Award
for Best Achievement in Visual Effects.
His creative abilities have been a part of a wide range of feature films,
including Congo, The Flintstones, Rising Sun, Arachniphobia, Ghost, The
Hunt For Red October and Back To The Future, Part II. In addition to directing
a variety of commericals, he directed the Grammy-nominated music video,
"Dis Is Da Drum" for Herbie Hancock.
CLINT GOLDMAN (Producer) oversaw the acclaimed effects on New Line Cinema's
The Mask, which was nominated for an Academy Award for Best Visual Effects.
Among his credits, he produced effects on the alien abduction sequence in
the feature Fire In The Sky starring D.B. Sweeney, and produced the opening
montage for the 1996 Academy Awards for producer Quincy Jones and the theatrical
logo trailer for Dreamworks SKG.
From 1989 to 1996, he worked at ILM, where he received numerous honors for
his work in film and commercials, including BAFTA, Clio and Ad Age Awards,
as well as a Billboard Music Award and Grammy nomination for Herbie Hancock's
"Dis Is Da Drum" video.
Goldman began working in digital effects in 1984 at Robert Abel & Associates,
helping to develop a wide range of innovative computer-based effects techniques.
He also worked with directors Ridley and Tony Scott and completed MFA studies
at the UCLA Film and Television Producers Program.
STEVE "SPAZ" WILLIAMS (Second Unit Director/Visual Effects Supervisor)
has contributed his experience with state-of-the-art computer graphics technology
to Academy Award-winning visual effects in such films as The Abyss, Terminator
2: Judgment Day and Jurassic Park. Most recently, he worked on the phenomenally
successful re-release of George Lucas' Star Wars Trilogy.
Williams joined ILM in the computer graphics department in 1988, at a time
when there were fewer than 10 animators, and he was instrumental in increasing
the department to more than 400 members.
A native of Toronto, Canada, he received his degree in classical animation
from Sheridan College in 1984.
ALAN BLOMQUIST (Executive Producer) served in a variety of production positions
including first assistant director and unit production manager on such films
as La Bamba and Uncle Buck before moving into producing.
Committed to producing films with mainstream appeal and social impact, Blomquist
has amassed an impressive list of credits, including the critically acclaimed
A Little Princess, What's Eating Gilbert Grape, Beautiful Girls, Of Mice
And Men, Guilty By Suspicion and Everybody's All-American. Most recently,
he executive produced the remake of the 1971 cult film Vanishing Point.
MICHAEL KNUE's (Editor) long list of feature credits includes the award-winning
films The Hidden, The Crow: City of Angels, Nightmare On Elm Street IV,
Lucky, Night of Creeps, Lily Dale, The Tie That Binds and Man's Best Friend.
For television, he contributed his talents to Civil Wars, Spelling's Heart
Attach & Vine and Alamo : 13 Days to Glory, and many others.
In addition to his editing work, Knue directed the second unit work on Rachel
Talalay's Nightmare on Elm Street VI.
ALAN McELROY (Screenwriter) moved to Los Angeles with $2,000, a new wife
and all of his possessions packed in the back of '76 Celica. While working
odd jobs, he published his first horror short story The Dead Thing.
He started writing full time after selling a script to Geffen Films in 1986.
His films and television credits include Halloween 4: The Return of Michael
Myers, Rapid Fire, Murder by Night and Wheels of Terror. In 1992 he directed
the short film "Under The Car" for Showtime.
McElroy attended school in Boston and Luxembourg and received a degree in
psychology from Miami University.
PHILIP HARRISON's (Production Designer) career spans more than 30 years,
maintaining an impressive string of working partnerships with some of the
industry's most talented directors.
He has collaborated with Peter Hyams on several productions, including Outland,
Hanover Street, Stay Tuned, Timecop, Sudden Death and his most recent thriller,
The Relic. He worked with John Badham on Blue Thunder, The Razor's Edge,
Short Circuit, Stakeout, Bird On A Wire, The Hard Way, Point Of No Return
and Nick Of Time.
Additional credits include Malice, Mississippi Burning, 52 Pick-Up, White
Nights, Never Say Never Again and Valentino.
DAN LESTER (Costume Designer) has worked with director Peter Hyams on Time
Cop, Sudden Death and most recently on The Relic. He received an Emmy nomination
for his work as a co-designer with Winnie Brown on the mini-series "Dallas
-- The Early Years."
His additional film credits as associate designer with Marilyn Vance include
The Getaway, Judgment Night, Sommersby, Used People and Little Monsters.
He began working with Vance on such films as The Untouchables, Rocketeer
and Pretty Woman.
TOM PEITZMAN (Effects Producer) began his career in film in 1987, fresh
out of film school. Now, 10 years later, 100-foot babies, 15-foot monsters
and Hellspawns are all in a days work. Most recently, he served as effects
supervisor on Congo and The Relic.
Entering the business as a production assistant, Peitzman quickly worked
his way up through the ranks on such films as Dead Poets Society, The Great
Outdoors, Three Fugitives, Taking Care of Business and Harlem Nights.
He began his career in visual effects overseeing Honey, I Blew Up the Baby
for the Walt Disney Company, and he worked as an assistant director on several
films, including Forever Young, Major League II and Terminal Velocity, to
round out his knowledge of filmmaking.
INDUSTRIAL LIGHT + MAGIC (ILM), (Visual Effects) which was founded by George
Lucas in 1975, is the leading effects facility in the world, creating some
of the most stunning images in the history of film.
ILM has created visual effects for more than 100 feature films, including
Lost World: Jurassic Park, Mars Attacks!, 101 Dalmatians, Twister, Mission:
Impossible, Dragonheart, Jumanji, Casper, Forrest Gump, The Mask, Jurassic
Park, Death Becomes Her, Who Framed Roger Rabbit, E.T. The Extra-Terrestrial,
the Indiana Jones series and the Star Wars trilogy. ILM has played a key
role in six of the top 10 box office hits of all time, winning 14 Academy
Awards for Best Visual Effects and 12 Technical Achievement Awards.
Since the `80s, ILM has led the way in the use of computer graphics and
digitial imaging in feature films and commercials, developing breakthrough
software techniques such as Morfing, enveloping and film input scanning.
CHRISTOPHE HERY, (Associate Visual Effects Supervisor), who began at ILM
in 1993, was senior technical director on the New Line Cinema blockbuster,
The Mask. Since then, he has served as computer graphics supervisor on such
features as Daylight and Eraser, and as a technical director on Jumanji,
Casper and The Flintstones.
HABIB ZARGARPOUR (Associate Visual Effects Supervisor) joined ILM as a technical
director on The Mask, and was promoted to senior technical director on Star
Trek: Generations. His additional film credits include Jumanji, Twister
and Star Trek: First Contact, for which he served as computer graphics supervisor.
Twister garnered an Academy Award nomination for Best Achievement in Visual
Effects.
He received his B.A.S.C. in mechanical engineering from the University of
British Columbia in Vancouver and graduated with disinction in industrial
design form the Art Center College of Design in Pasadena, Calif.
KURTZMAN, NICOTERO AND BERGER EFX GROUP (KNB), (Creature Effects) which
was formed in 1988, has excelled in a wide variety of effects work. Their
prosthetics and character make-ups can be seen in a long list of feature
films including Pulp Fiction, Vampire In Brooklyn, Reservoir Dogs and From
Dusk Till Dawn.
KNB has also met a demand for animal duplicates and animatronic creatures
in films such as Dances With Wolves, Wyatt Earp, The Jungle Book, City Slickers,
Eraser, Mars Attacks, Hard Target and Alaska.
In addition, the group created a bevy of monsters, creatures and ghouls
for John Carpenter's In The Mouth Of Madness and Village Of The Damned,
as well as Clive Barker's Lord Of Illusions and Army Of Darkness.
Although their work has centered mostly on feature films, KNB has lent its
unique talents to several television series, including The X Files, Hercules:
The Legendary Journeys, Picket Fences, Showtime's The Outer Limits and Mantis.
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