Douglas Trumbull

Douglas Trumbull
Born	April 8, 1942 (1942-04-08) (age 69) Los Angeles, California, United States
Occupation	Director, producer, writer, special effects supervisor

Douglas Huntley Trumbull (born April 8, 1942, Los Angeles) is an American film director, special effects supervisor, and inventor. He contributed to, or was responsible for, the special photographic effects of 2001: A Space Odyssey, Close Encounters of the Third Kind, Star Trek: The Motion Picture, Blade Runner and The Tree of Life, and directed the movies Silent Running and Brainstorm.^[1]

Early days

Douglas is the son of Donald Trumbull who created visual effects for the 1939 movie The Wizard of Oz as well as later movies including Silent Running and Star Wars.

Doug was a creative talent even in the 6th grade. My first recollection of him was one morning in Inglewood, California when he arrived early in Mrs. Essex's class, and had draped a virtually invisible antenna wire out the window, so that he could surreptitiously listen to his crystal set in class. At recess, I introduced myself, and we became fast friends. In the 1960s he worked in the office of my father's electrical contracting firm, G & M Electric Company, to put himself through El Camino Junior College. -- Larry Dighera

Major projects

1960s

Douglas Trumbull's early work was at Graphic Films in Los Angeles. The small animation and graphic arts studio produced a film about spaceflight for the New York World's Fair. Trumbull, the son of a mechanical engineer and an artist, worked at Graphic Films as an illustrator and airbrush artist. The spaceflight film caught the attention of director Stanley Kubrick. Kubrick hired director Con Pederson from Graphic Films, and Trumbull then cold-called Kubrick after obtaining the director's home phone number from Pederson. Kubrick hired Trumbull for the production of 2001: A Space Odyssey. Trumbull's first task was to create the dozens of animations seen in the data display screens in the Aries moon shuttle and the Discovery.^[2] They looked like computer graphics, but they were created by photographing and animating reproductions of charts and graphs from technical publications. Trumbull initially created the shots using a number of Rube Goldberg–like contraptions he built with gears and motors ordered from a scientific equipment supply house. Kubrick gave the young effects technician creative freedom and encouragement: "He would say...'What do you need to do it?' and I would have complete carte blanche, which was wild as a young guy," Trumbull recalled. "I was 23-24 when I started the movie, and was 25 by the time I was doing the Star Gate. He would say, 'What do you need?' and I'd say, 'Well, I need to go into town and buy some weird bearings and some stuff' and he would send me off to town in his Bentley, with a driver, into London. It was great!"

Trumbull's responsibilities and talents grew as the production continued, and he became one of four special effects supervisors on the film (the others were fellow Graphic Films alumnus Con Pederson, along with Tom Howard and Wally Veevers.) Trumbull's most memorable contribution was the development of the slit-scan photography process, used in the "Stargate" sequence. "...I just happened to be in the right place at the right time... We were struggling with the Star Gate. Nobody knew what a Star Gate was; but, I came up with some ideas that I didn't even know at the time were based on some things I was learning as a young guy about street photography and weird photographic techniques..." Working on 2001 hooked Trumbull on the concept of producing immersive film experiences on huge screens - ironically, at a time when the industry was moving towards the multiplexing of theaters with smaller screens.

Although Trumbull's association with Kubrick was a huge boost for his career, he swore afterwards that he'd "never work for someone else again," in part because Kubrick "was a hell of a taskmaster...his level of quality-control bordered on perfectionism."

Trumbull was often incorrectly credited in print as being the sole special-effects creator for 2001. Whenever this happened, he usually received a call shortly thereafter from an irritated Kubrick. Though this created a strained relationship for many years, Trumbull said after Kubrick's death that Kubrick "was a genius," someone whom Trumbull missed terribly.

1970-1974

Having returned to Hollywood, Trumbull set up his own company and subsequently bid on the job to produce special effects for the science-fiction film The Andromeda Strain. ("I was a young guy and very naive," he later recalled, "And I seriously underbid the job - I had no idea what these things were supposed to cost. I nearly went bankrupt as a result!") Trumbull and associate James Shourt produced dozens of shots, including the "electron microscope" pictures of the Andromeda organism and various on-screen readouts. Though many of these looked like computer graphics, they were created using techniques Trumbull had used for 2001. Author Michael Crichton and director Robert Wise were much impressed by Trumbull's work.

Trumbull's participation and success on "Andromeda" set him up to direct the 1971 film Silent Running, with a script based on his original treatment: America's last great forests are preserved and sent into space inside huge geodesic domes, in the hope that one day they can be returned to an earth that can once again sustain them. When orders are issued by faceless bureaucrats to abandon and destroy the domes, the ship's botanist (Bruce Dern) rebels and takes over the ship, aided by three anthropomorphic "drone" robots. He steers the ship away from the fleet and hides among the rings of Saturn, out of contact (silent running), attempting to keep the forest in good health, alone except for the drones who follow him around like pets.

Silent Running was produced by Universal on a shoestring budget of one million dollars, one-tenth the budget of 2001. The film used a number of special effects techniques that Trumbull had helped develop. The spacecraft interiors were shot aboard a mothballed aircraft carrier, which lent its name to the movie spacecraft Valley Forge. Trumbull was not originally slated to direct, but as the start of production loomed he became the obvious choice. (Other newcomers included the script writing team of Deric Washburn and Michael Cimino, who would later collaborate on The Deer Hunter, along with writer Steven Bochco of Hill Street Blues and LA Law fame.)

When Silent Running was released, insiders were astonished that the finished film had been produced for so little money. Lead actor Bruce Dern compared Trumbull's creative vision to that of Alfred Hitchcock, with whom Dern had also worked. Trumbull was seen as one of Hollywood's up and coming young directors.

Although a critical success, Silent Running was a flop at the box office. Trumbull recalled that "It was just a great experience for me as a film maker, but I didn’t know that I was part of an experiment by Universal Studios . . . to see if it was possible to have a movie survive on word of mouth alone without an advertising campaign." It was not, but Silent Running's environmental message struck a chord, and the movie has since became a cult classic.

After Silent Running, Trumbull developed a number of movie projects, but a series of misfortunes and bad luck kept them from getting beyond the initial development stage. One project nearly did get into production, and was already being cast when it was abruptly scuttled - the investor had decided to abandon the movie business and build a Las Vegas casino instead. Trumbull described this period of his career as "development hell." Unable to live on development fees alone and needing money, Trumbull returned to creating special effects, including some uncredited work using blue screen techniques on the 1974 film The Towering Inferno, a huge commercial hit.

1975-1980

In 1975 Trumbull turned down an offer to provide the effects for George Lucas' Star Wars due to other commitments, but in 1977 he contributed effects to Close Encounters of the Third Kind. In late 1978, Trumbull's Future General Corporation, a research/ special effects house that was funded by Gulf + Western and Paramount Pictures, was offered the job to produce the special effects for Star Trek: The Motion Picture. Trumbull, already deeply involved in Close Encounters, refused, wanting instead to focus his efforts on his patented Showscan process, a high-speed, large-format movie process that provided unprecedented visual clarity. Paramount awarded the contract to effects house Robert Abel and Associates, and in a move seen by some as payback for Trumbull's refusal to take on the project, all but shuttered Future General. perhaps hoping the out-of-work employees would gravitate to Abel.

Abel had produced many high-end, visually advanced commercials for clients such as 7-Up, but it soon became apparent that their choice of technology, which featured software-controlled camera rigs and graphics imaging systems very advanced for the day, simply couldn't scale up to the volume of material required. In August 1978, with rumors of an impending meltdown at Abel swirling, Trumbull approached Paramount offering to step in and do the effects with partner Richard Yuricich. Paramount declined, hoping that Abel could still work a miracle.

Early in 1979, and with principal photography nearly finished and a December release date looming, Abel was fired after failing to produce even a few seconds of usable footage. Paramount approached Trumbull to take over effects production, which Trumbull did after securing an agreement to be released from his contract at Paramount upon completion of the film. "At the time," he recalled, "I think they would have entertained anyone who could have pulled them out of the jam." Trumbull reassembled his Future General team, rebuilt his facility which Paramount had nearly gutted, and with a mere five months to create the hundreds of effects shots needed, worked virtually around the clock for months. His team made the date, but their in-house battle cry became "...crop it, flop it, or drop it!" (That is, re-use part of an existing scene, take an existing scene and "flop" it over so that a right-to-left shot of the ship now plays the other way, or "drop" the shot from the script altogether.)

The model of the Enterprise, already built by the time Trumbull's team took over, proved especially tricky. While the model of Discovery in "2001" was over 50 feet long and featured a wealth of detail (from parts gleaned from, among other things, hundreds of plastic model tank kits), the model of the Enterprise was only seven feet in length, which severely limited the photographic possibilities. Other compromises had to be overcome. Trumbull had several ideas for unconventional effects - such as a modified slitscan technique to produce fantastic streaks when the Enterprise went into warp drive, but many had to be shelved due to time constraints. Trumbull also made several contributions to the story line, in collaboration once again with his Andromeda Strain director Robert Wise.

1980-1990s

In 1981 Trumbull directed the special effects for the Ridley Scott film Blade Runner.^[3] By this time Trumbull had all but sworn off doing special effects for other directors, but was lured to the project by the opportunity to work with Scott, and a chance to create something other than sterile, grey and white spacecraft. "One of the things that appealed to me about the project," Trumbull recalled in an interview in Cinefex magazine, "was that it was NOT a space movie. I'm just real tired of doing spaceships against star backgrounds." Indeed, the iconic images of a polluted, dystopian Los Angeles, looking more like an oil refinery than a metropolis, and complete with building-sized electronic billboards and a bulbous blimp circling overhead advertising "Off World" job opportunities became the film's visual trademarks. (Despite the experience and professionalism of Trumbull's disciples, not everything went smoothly. According to Cinefex magazine, a young model maker was giving his girlfriend a tour of the effects shop, and he noticed that a large model of a building being photographed in the "smoke room" - a sealed room specially constructed to provide a smoky atmosphere - was burning fiercely. Thinking this was just another effect, he mentioned it in passing to a supervisor, who immediately grabbed an extinguisher and ran to put out the fire. The plastic and fiberglass model had been mounted too close to a powerful light which eventually set it ablaze.)

Trumbull did not complete Blade Runner, (David Dryer took over as special effects supervisor) leaving the film as agreed about halfway through to concentrate on pre-production for his next directing effort, Brainstorm, a story of two brilliant scientists who develop a revolutionary device to record and vicariously experience other people's feelings and perceptions, a device the military tries to steal for its own purposes.

Brainstorm was to be a showcase for Trumbull's "Showscan" process, which utilized special cameras and projectors to capture and project 70 mm film at 60 frames per second. At the last minute the Showscan process was not used, because theatre owners balked at the idea of installing expensive new projection equipment. The film was shot conventionally at 24 frames per second on 35mm film, though Trumbull continued his process of shooting effects work in 70mm. "In movies people often do flashbacks and point-of-view shots as a gauzy, mysterious, distant kind of image," Trumbull recalled, "And I wanted to do just the opposite, which was to make the material of the mind even more real and high-impact than 'reality'".

The film was nearly scuttled by the mysterious drowning death of Natalie Wood during a break in production. MGM immediately shut down production and initially wanted to dump Brainstorm (and collect the insurance on the unfinished film). Trumbull argued that the film could easily be finished - Natalie Wood's performance was already "in the can" and only a few scenes would have to be reshot. Lawyers and insurance companies battled over whether to even complete the film. The movie was finally finished two years later when the insurance company supplied the money to finish production. Trumbull had pushed all the while for the studio to finish and release his movie. "I can do this," Trumbull recalled in an interview with Greencine, "I've got all the coverage...All you need to do is let me in the editing room and I'll show you. They said, 'No, you can't come back, we don't want you in the cutting room, you can't finish this movie.'" Because of his determination to finish his film, Trumbull became "persona non grata" at MGM in the process. Eventually released on a small number of screens and with little publicity (though Trumbull recalled in the Greencine interview that the film became "Quote, Natalie Wood's last film, unquote,") Brainstorm was well received critically but a commercial failure at the box office.

Exhausted from his battles with the Hollywood system ("The movie business is so totally screwed up that I just don't have the energy to invest three or four years in a feature film,"), Trumbull retreated to the Berkshire Hills of western Massachusetts, to escape "the lawyers, the insurance agents, the creeps", redirecting his career away from traditional Hollywood projects and concentrating instead on developing new technology for movie production, and for the exhibition industry and theme-park rides, such as the Back to the Future Ride at Universal Studios Theme Park. Until recently, Trumbull's Showscan technology could be seen on a theme-park type ride at the Luxor Hotel in Las Vegas.

In 1994 Trumbull was briefly a Vice Chairman of IMAX Corporation and President of its Ridefilm division through his involvement in the simultaneous combination and takeover of the Canadian based private company Imax Corp. and Trumbull Co.

2000-2010s

Trumbull has spent nearly two decades in the Berkshire hills of western Massachusetts, starting and running a series of companies involved in effects production and innovation.

In 2010, Trumbull leveraged social media, after a fashion, when he posted a video on Vimeo and YouTube with an original invention aimed at capping the BP oil spill. Although the video "went viral" almost immediately, Trumbull never heard from BP or any of the government agencies struggling to contain the spill, which left him bemused and mildly annoyed.

After nearly thirty years away from Hollywood, Trumbull contributed to special effects work on Terrence Malick's 2011 film The Tree of Life. Reportedly Malick, a Trumbull fan, approached him about the effects work and mentioned that he did not like the look of computer-generated effects. Reportedly Trumbull asked Malick, "Why not do it the way we did it on 2001?" Recent compositing programs such as Nuke allow practical scenes shot on film to be combined with fewer of the headaches of "traditional" effects work, such as shooting multiple camera passes on a single piece of film, matte passes, and the like. Trumbull eventually signed on as special effects consultant to the film's effects supervisor, Dan Glass. Many of the "organic" effects processes used in "2001" and "Close Encounters" were resurrected, such as photographing chemical interactions in petri dishes and releasing paints into water tanks. "It was a working environment that's almost impossible to come by these days," Trumbull told The Guardian newspaper in July, 2011. "Terry wanted to create the opportunity for the unexpected to occur before the camera, then make something of that. He didn't want to use a very stringent design process, he wanted the unexpected phenomenon to occur – and use that."

In March, 2011, director James Cameron announced plans to film his next "Avatar"-type 3D feature in a digital version of Showscan. Cameron has been pushing for movie theaters to adopt higher frame-rates to maintain the 3D effect during scenes involving high-speed motion (like explosions.) At 24 frames per second the 3D effect breaks down, while at 48 or 60 frames per second it is maintained. 60 frames per second is difficult to achieve with conventional film because of the stress on the medium itself; recording 60 frames per second using a digital camera is commonplace. Cameron and Trumbull have been friends for years, and it appears that Trumbull's contribution to a heightened theater experience may finally see its day, thanks to the influence of powerful directors like Cameron and Peter Jackson -nearly 30 years after its invention.

Now approaching his eighth decade, Trumbull maintains a workshop and studio on his property in the Berkshire hills (an area hampered, ironically, by lack of high-speed internet access). He often travels to film screenings and seminars and is enjoying a resurgence of his celebrity among film enthusiasts, for which Trumbull seems grateful. "They really keep me going," he told The Australian newspaper in February, 2011. "They reinforce some enthusiasm about my work. It's very hard to keep me going, because the setbacks [were] really tragic and difficult."

Honors

Trumbull has been nominated for Academy Awards on five occasions and has received the American Society of Cinematographer’s Lifetime Achievement Award.

2010 inductee Science Fiction Hall of Fame.^[4]

See also

• The Starlost

References

1. ^ New York Times
2. ^ Johnandjana.net
3. ^ "Douglas Trumbull: In Retrospect". http://kipplezone.tripod.com/id58.html. 
4. ^ Empsfm.org

External links

• Official website
• Douglas Trumbull at the Internet Movie Database
• Douglas Trumbull: In Retrospect An overview of Mr. Trumbull's career, with emphasis on the special effects work he did on the movie Blade Runner. Written in 2006.
• "Total Immersion", Howard Rheingold, Wired Magazine, November 1993 - coverage of Trumbull's VR installation at the Luxor Hotel in Las Vegas.
• 2009 interview with Douglas Trumbull.
• Onstage conversation between Douglas Trumbull and Ben Mankiewicz, May, 2010
• Video interview
• Audio interview with Douglas Trumbull, December, 2010
• Douglas Trumbull giving a talk at ITF 2010
• The Australian article

Persondata
Name	Trumbull, Douglas
Alternative names
Short description
Date of birth	April 8, 1942
Place of birth	Los Angeles, California
Date of death
Place of death