NEWS

AN INTERVIEW WITH LEGENDARY PAINTER AND ARTIST HARRISON ELLENSHAW

AnimfxNZ: How did you get into the business?

HE: My father, Peter Ellenshaw had worked in the film business for many years, first in England and then in the United States as a production designer, matte artist and second unit director. He also worked on the design for some of the attractions at Disneyland when it first opened. In the early 1970s it was my father who suggested that I try my hand at matte painting. Visual effects were virtually unknown to most people then. (Remember this was way before Star Wars.) I was lucky; I had no problem getting hired as an apprentice matte artist at Walt Disney Studios. But there was a lot to learn so I was very fortunate to have as a mentor, the head of the Disney matte department, Alan Maley who ended up teaching me so much of what I know about effects, narrative film and how it all needs to work together.

AnimfxNZ: You've worked on Star Wars, The Black Hole and many other films that have been nominated for Academy Awards for their visual effects. Can you tell us about a particular scene that you are proud of where we can see your signature style?

HE: It is very rare that someone asks about "style" in visual effects. The conventional wisdom is that style is only a part of production design and cinematography, not visual effects. Nothing could be further from the truth. Effects need to be an extension of the style of the film or TV show or game. Of course, effects are there to serve the story first and foremost, but they also have to be as much an integral part of the film as any other craft. It can't just be a technique to fill in for what can't be shot "for real." I have two favorite examples. The Cloud City sequence from The Empire Strikes Back was very effective because George Lucas and his art department decided to make the sequence take place at dusk. It gave the whole environment a very distinct look that really contributed to the drama of the film. George is one of few filmmakers who understand how visuals can keep the interest of the audience. My other example is the matte shots on Dick Tracy. The film won the Oscar for Best Art Direction; I think at least some credit has to go to the visual effects for what was an amazingly elegant and beautiful setting for the story. Ironically Dick Tracy was not even nominated for an Oscar for visual effects; but that's another story. I don't believe I have a "signature style," rather I just have always tried to be true to the "look" of whatever particular film or project I was working on.

AnimfxNZ: How long did it used to take to paint a matte background, and have you gone digital?

HE: To paint a matte painting could take only a few hours or as long as weeks, depending on the shot. Yes, I've "gone digital," but that doesn't necessarily mean it's easier.

AnimfxNZ: What do you like most and least about digital painting?

HE: Making joins match is a wonderful thing in digital; it used to be so difficult in analog. There's nothing I don't like about digital matte painting. Some matte painting comps are better than others and it has nothing to do with digital or non-digital, it all has to do with who is doing the work and how competent they are in making the shot(s) effective.

AnimfxNZ: How has art for visual effects changed over the last few decades?

HE: The "art" hasn't changed at all; it's only the methods that have advanced.

AnimfxNZ: What do you predict are the biggest changes coming to art for animation and digital film?

HE: Some might say it is 3D, but as we know 3D cinema has already arrived. What's next? I believe that, within our lifetime, we will be able, as an audience (in the round) to view a feature length film solely as a hologram.

AnimfxNZ: What advise would you give to someone interested in doing what you do?

HE: Don't bother…go into entertainment law! (laughs) Seriously, it's very simple, if you want to do something… learn it and do it. And try to do both at the same time. I am constantly amazed at the people who say they want to direct a film, yet don't even want to bother taking video or stills of every day life. Why would you solely commit to memory how you think people behave? How can you expect to tell a story with images if you don't learn how to communicate using a visual language? It's like trying to drive a car properly the very first time, having only just read books on the subject. To be good you have to be disciplined. To be great you have to be disciplined AND dedicated!

AnimfxNZ: Are there resources you would steer someone towards so they can get a greater grasp of what the expectations are of creators today?

HE: A good way to understand what level of quality is demanded of the best film, TV and games today is to look at the best of the best that's out there right now. Don't just view something from an purely entertainment point of view, but look closer, examine sequences over and over… look frame by frame and analyze, study and try to understand why it is the way it is. It's just like a young painter visiting a great museum and spending time with great artwork, deconstructing it, in order to understand what makes it great. It ain't easy, I still don't know exactly what makes a Vermeer or a Rembrandt great, but I have an idea, it's not a complete understanding, it never will be… that's what makes it such a worthwhile challenge.

AnimfxNZ: What do you do for fun outside of work?

HE: Work is fun. Outside of work though, I try to enjoy the good things in my life and concentrate on how fortunate I am. I play tennis, travel, take lots of photographs and enjoy good food. Wow, I sound like the Playmate of the Month!

AnimfxNZ: Have you ever been to New Zealand? If so, are there any special places you could share?

HE: I love New Zealand. I was fortunate enough to work on the final two seasons of the two TV series Xena and Hercules. Not only was it one of the most pleasant work experiences in my career, but I was blessed to experience so much of New Zealand and the wonderful people who live there. It is an amazing country and I am anxious to visit once again.

Contact:

Sean Kauppinen
International Digital Entertainment Agency
+1-415-299-2156