Douglas Trumbull Quotes
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I took IMAX public back in the early '90s.
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I got hooked on immersive cinema when I worked on '2001,' which was initially shown on these Cinerama screens, which were all 90 feet wide and deeply curved.
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When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
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I meet astrophysicists almost every week who say that they went into their line of work because of '2001.'
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I'd formed a research and development company under the banner of Paramount Pictures back in about 1975, and its mandate was to explore advanced forms of entertainment, not just movies.
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It was the point where things became much more abstract and less literal than in the bulk of the film, which was hardcore rockets and space and planets - all a fairly straightforward evolution from what I had been doing before.
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I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.
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When I was a young man in school, I used to read science fiction and really liked it. And as I became a young artist, I was filling up my portfolio with alien planets and spacecraft and things like that.
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There's a consistency in my work that pops up independent of the limitations of the technology.
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I have the deepest respect for Terrence Malick and greatly enjoyed helping him on 'Tree of Life.' I consider him to be a good personal friend and professional contemporary.
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I think 'Avatar' is much more appropriate to high frame rates because it's like a ride, and it's futuristic, and vividness and sharp edges and clarity would be an asset.
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There was every reason to honestly say that 3D was a gimmick. And it's largely true. And it's largely pretty bad. When you put a filter in front of the projector, and you put on your glasses and cut the light in half again, the movies are dim as hell, and they give you headaches and eye strain, and it's terrible.
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I like the unknown. That's what Terry Malick has always really liked. He's always looking for the unexpected.
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I visited a scientist who had a helmet with magnetic fields controlled by computer sequences that could profoundly affect your mood and your perceptions.
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There's been a bit of confusion about Showscan. The basic problem was, it was film and it was 70 mm and it was a lot of it, so the negative cost was very high, the print costs were very high, and it also required conversion of the projectors and theaters and a lot of costs. I just couldn't get any traction in the theatrical movie industry to do it.
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The diversity of content is now offered from streaming and downloading, so young people are really not going to theaters because they don't see any particular benefit.
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My personal feeling is that ultra-high frame rates and ultra-vivid giant screen movies can be like a window onto reality. And if you recognize it as such, you can write your screenplay, direct your movie, edit it, and present it as a live experience - not like a movie.
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I'm developing some high-frame-rate 3-D processes that are going to be, I hope, indistiguishable from reality. This will be quite an unusual cinematic event - you don't just tell an ordinary story, it's more of a first-person experience where the melodrama doesn't get in the way. Being inside the movie rather than looking at the movie.
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Working on '2001' was my film school. Stanley Kubrick was my mentor.
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I honestly believe that the next big leap in immersive technology will be very much like Brainstorm.
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We're not that far from being able to plant images, memories, and emotional states directly into the brain.
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If you want people to come to theaters, you better do something different.
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I learned a lot on '2001.'
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Clearly, if we'd had the kind of computer graphics capability then that we have now, the Star Gate sequence would be much more complex than flat planes of light and color.