special effects

Film Short: An Animated Q&A with Producer/Director/Writer and CEO of Threshold Studios Larry Kasanoff

by admin on November 2, 2010

In addition to being a well respected producer/director/writer responsible for bringing such projects as the two #1 “Mortal Kombat” feature films and the CGI-animated feature film “Foodfight” starring Charlie Sheen and Eva Longoria to the screen, Larry Kasanoff is also the CEO of Threshold Animation Studios.  Based in Santa Monica, CA his company produces visual effects and animation projects for studios such as Disney, Paramount, Sony, DreamWorks, Warner Brothers and New Line.  Here, in this Filmmakers Notebook Q&A Larry shares some of his thoughts about making movies and the growth of animation.

Since you have a varied background producing, directing and writing, what interested you in animation and made you decide to become CEO of a studio like Threshold? 

I founded Threshold to make movies and related media and had early success doing that with “Mortal Kombat”.  The more digitally complex our movies became and the more the associated media, like video games, became digital, the more I realized the whole film world was going digital.  So, we started an animation studio.

What excites you about doing Animation?  

If movies are a safe haven for control freaks, animation is like Nirvana.  We get to totally, 100% imagine our entire world- every detail of it.  We get to figure out exactly how all the characters look, talk and move.  For example, I like incongruous characters – penguins who are always cold, drunk, bitchy teddy bears, fat, disheveled vampire bats – thins like that.  And with animation, since we are limited only by our imagination, I get to do it.  It’s a blast.

How do you determine which projects are best suited to be produced in 3D, 4D or CGI Animation? 

It’s all CGI – that just means we do it digitally.  Most of our CGI family films are 3D and now almost all of our location based entertainment productions are 4D.  We constantly try to make movies that push immersion.

Of the film projects you’ve created at Threshold, which one is your personal favorite?

My next one!  Seriously, I think to be a good filmmaker, you always have to keep falling in love with what you are about to do.  I don’t really watch my movies once they are finished.

Aside from financing what do you consider to be the biggest barriers to independent filmmakers using CGI animation and other state of the art technology and do you have any recommendations for overcoming them?  

Making a CGI movie is kind of like trying to get an aircraft carrier through the Holland Tunnel in NY.  It doesn’t fit, so you have to take it apart and send it through, but by bit, then reassemble it at the other end.  In other words, it is exceedingly complicated, meticulous and time consuming.  Half of it is filmmaking, the other half is like running intel.  We thankfully have an amazing technology alliance with IBM to help us create and innovate all of this.  I recommend indie filmmakers be as creative as possible with story, but hire a company to actually make the CGI.  It takes tens of millions of dollars and several years to start a CGI studio.

What is the most challenging aspect for you in running a company like Threshold? 

We have so many great movies, a growing television network (Blackbelt TV); a bustling animation studio, new technology every second and like a thousand good ideas, so, the answer is focus and time in the day.

Have any unexpected advantages resulted from your partnership with IBM? 

Tons and tons.  Beyond being the best computer and software company in the world, they are the most innovative and smartest and most responsive I have ever seen.  My old business school training says companies are either a battleship – big and strong, but can’t maneuver quickly, or a speedboat – fast and innovative, but small.  IMB is both a battleship and a speedboat.  We set a goal to make movies better, faster and cheaper with them and we have done it.  We learn, grow and come up with new ways to make 3D, 4D and now even 5D because of our IBM relationship.

Since your film deals have all been profitable so far, is there a formula you’ve followed in order to achieve that kind of success?  

Pray a lot.  Plus, we always look at a movie two ways – 1) do we love it creatively, regardless of any business decision; and 2) is it a good business, regardless of how we feel creatively for us to move forward.  The answer has to be yes to both.  And, did I mention pray?

I read that you have an MBA from the Wharton School of Business and a BA from Cornell.  Would you advise producers to view filmmaking as a business as well as a creative process and what advice would you offer to anyone starting out?

That’s the above answer.  As a filmmaker, you simply can’t make a business decision without making a creative one and vice versa.  If you are directing and want to shoot ten extra takes, you are spending more money or taking it away from someplace else.  It all goes like that.  You need to understand the film from both perspectives.  To anyone starting out, I would say make sure you find your passion, never ever give up, and have fun along the way.

What do you enjoy about working on Theme Park Projects?

It’s the medium where we get to push technology the most.  Theme parks are unique in that they have to make something that people will come from all over the world to see and that will run for years.  Thus, they will take the most creative and technological chances.  That’s fun.  Plus, we think what is in theme parks today will be in movie theatres in 5-10 years.

Do you find them to be more similar or different than working on films?

Same principal, but as I said, better technology and they run for years – so, unlike movies, no “juice the opening weekend and rely on DVDs to get out”.  They gotta be great.

Where do you see Animation heading during the next few years?  

A seamless integration of live and digital, so we will all be making movies in big green rooms, backed by massive IBM computers that have the whole world programmed into it.  Want Paris with a bunch of drunk bunny rabbits walking down the street?  Nob prob.  For storytelling – amazing.  For my travel plans – not so good.

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Film Short: IndieMeet Delivers Fun and Friendship for Filmmakers

by admin on June 2, 2010

For this week’s Film Short I’m posting some of the highlights from the demos at the Las Vegas IndieMeet held at the home of filmmakers Mike and Sheila Conway during this past Memorial Day Weekend.  On Saturday we were entertained while learning information in several different areas of movie making.  First up was our host Mike, who talked about several features offered by Adobe’s Special Effects software.  Part of his demonstration was showing how he masked the eyes of one of the creatures in his new horror film “SCREAMIN’ DEMON”.

Keith Ford gave the next presentation about Airsoft guns, which have the same functionality as real world weapons and can easily fit the needs of independent filmmakers looking for props.  One IndieMeet attendee, former marine Kelly Johnston used Airsoft to arm actors in his film “The Awakening”.  Viewing a clip from his film using the guns, it looked as if a swat team was surrounding a house, which actually turned out to be his home. Kelly pointed out that if you are familiar with After Effects you can animate your shots and fill in muzzle flash and add in recoil and smoke creating an authentic look. 

Keith Ford with Airsoft Guns

The number one priority for Keith is safety.  He added that it’s helpful to have a military person or someone who knows weapons on set if you’re planning to use Airsoft guns for a shoot because military protocols are hard to teach.  One possibility for filmmakers might be to use Airsofters in their scenes since 90% of them know how to look realistic and tend to show up with their own equipment.  Another bonus with Airsoft is the cost.  Their guns start at $24 and if you’re casting terrorists in your film, their version of the ever popular AK47 is approximately $200. 

We switched to a different kind of shooting next when Chet Simmons showed us his Canon 7D.  Chet, who is working on a  documentary and has shot commercials with this camera, explained how one of its’ benefits is the ability to use ambient light.  Featuring H.264 encoding, it shoots in 12 minute takes, which can be a down side.  However, with a card that timeframe can be extended to 22 minutes.  Shooting must also be done in full manual in order to get the 35 millimeter camera effect the 7D is known for.  One fact that bothers Simmons is the amount of misinformation he’s found online regarding how the camera functions, especially when it comes to the settings determining which type of film the user wants to emulate.  He recommends setting up your shot the way you want it to look rather than relying on the settings, warning that shots may look different in post.  Another concern with the camera, especially in an area like Las Vegas is overheating, which can be a major issue.  When the thermometer comes on the camera will shut down.  

Garo Setian from Lionsgate discusses editing trailers

Making a trailer with impact requires special skill and no one does it better than the next speaker, Garo Setian, an award winning trailer editor at Lionsgate.  He explained that sometimes when scenes are shown in trailers that aren’t in a movie it’s probably because the is probably still being worked on in post.  When making a trailer, one consideration is to determine how much of the story you want to give away and that you should be looking for the freshest angle in order to sell the film.  As for their running time, trailers should have the feel of theatrical advertising, so 30 seconds is probably short, while 90 seconds is about average.  The trick is to show enough to draw in the audience without giving too much of the plot away.  When it comes to graphics, a less elaborate design like white letters against a black background might have a more desired effect.  Garo, who has been nominated six times for trashiest trailer, told us that one of his all time favorites trailers was for a film called “Lifeforce”.   It was the version attached to the 1985 release of “Rambo II”, which isn’t available anymore.  For his work at Lionsgate Garo uses Avid software, but on his home system he has Final Cut Pro.  He told us that while he finds he can do more with Avid, Final Cut Pro plays more into the editor’s intuitiveness.  

Jorge Falconi speaking about Distribution

Former Hollywood Line Producer and recent Las Vegas transplant Jorge Falconi shared film distribution and networking tips with us.  He recommended that anyone living in the Los Angeles join AFI for $60 a year, providing access to screenings, events, newsletters and distribution classes. He also spoke about misconceptions regarding AFM, the American Film Market that happens annually in L.A.  Some attendees are under the misconception that if they pay for admission to the event they will be able to pitch inside, which isn’t permitted unless they are meeting by appointment or are already in talks.  He also suggested buying the Hollywood Creative Directory in order to research production companies, but warned that they rarely deal with unrepresented individuals.  For legal reasons they usually won’t look at a script or hear a pitch unless an agent, manager or entertainment lawyer is involved. 

Jeffrey Blake Palmer showed us his teasers and parts of his presentation for “The Sleeping Deep”.  He told us that although he found a number of people for his team on Craig’s List, he also discovered another site ConceptArt.org, which is where he found concept artist Mike Nash.  According to Palmer, finding people who can do what you can’t is the key in making a an effects driven horror film like  “The Sleeping Deep”.

Mario Salcido and the torso pre explosion

Outside in the Conway’s back yard, Mario Salcido used his special effects talents to construct a torso that was exploded before our delighted eyes while Jimmy Gingsumrong followed this up by demonstrating how squib charges are set off.   During the course of the day, I spoke with a number of the speakers about interviewing them for more in depth articles on these subjects later on, so send any questions you’d like answered to me at info@filmmakersnotebook.com.

The 2010 Las Vegas IndieMeet was a huge success for many reasons, but perhaps the most important one was for the cameraderie and support it shows filmmakers by providing a wonderful event where they can come together, explore and network..

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