Words matter. These are the best Douglas Trumbull Quotes, and they’re great for sharing with your friends.
I’d rather have fewer spectacular theaters than tons of cheap little multiplexes.
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.
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.
There’s a consistency in my work that pops up independent of the limitations of the technology.
It’s not appropriate to a love story, or – there are a million stories you could think of that don’t need 3D. A lot of movies don’t even need color!
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.
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.
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.
Every movie presents unusual challenges, and I like solving the problems with a combination of artwork and engineering.
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.
I learned a lot on ‘2001.’
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.
But as far as the concept of HAL, who HAL was, his character – I had no role in creating him.
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.
Movies used to be called the ‘flicks’ because they flickered badly: because 16 or 18 frames a second – which was those hand cranked movies on a single-bladed shutter – was really badly flickering.
We’re not that far from being able to plant images, memories, and emotional states directly into the brain.
I like the unknown. That’s what Terry Malick has always really liked. He’s always looking for the unexpected.
There were IBM logos designed for the film, and there were IBM design consultants working with Kubrick on the layout of the controls and computer screens.
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.
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.
I’m fearless when it comes to engineering and motors and gears and pulleys and glass and artwork.
I visited a scientist who had a helmet with magnetic fields controlled by computer sequences that could profoundly affect your mood and your perceptions.
