The Art & Life of Syd Mead
Tron and Blade Runner were films that were so visually ahead of their time, they made a lasting impact on filmmakers and artists for generations after their releases. Syd Mead was the visual genius behind the visuals and Joaquin Montalvan has produced a documentary celebrating his life. The "VISUAL FUTURIST: the art & life of Syd Mead" has been accepted to the Dances with Films Festival. This year the festival runs July 21- 27 at the Laemmle's FAIRFAX 3. Syd Mead will be there for a QnA. Trailer Screening at the BFC Theater now! ________________________________________________________________
BFC: Where you grew up? How did you start making movies?
I was born in Los Angeles, and grew up in Alhambra and Pasadena. My parents gave me a lot of freedom as a child. My father was into photography and eventually gave me his first camera, a Minolta. What I remember the most was going to Dodger games and the movies, usually starring Clint Eastwood and Charles Bronson. I started making films in 1999. A friend of mine said he saw me making films and I believed him, so I started doing it. I was the lead in the first two films I made, but I discovered I would rather be creating images looking through the camera, instead of acting in front of it.
BFC: What's your style and where do get your inspiration?
As for style, I don't consciously think about that. I think a director should be like a cinematographer, in the sense that, he should be capable of directing any kind of film, be it documentary, horror, film noir, western, or science fiction. Whatever style emerges, I think, arises out of the themes the director is obsessed with, rather than the visual images per se. My favorite directors, while extremely visual and keenly attune to the sound design of their films, enjoy experimenting with different genres, Stanley Kubrick, Ridley Scott, Michael Mann, David Cronenberg, and Martin Scorsese to name a few. While someone like David Lynch loves to mix genres within a single film. Yes, all these directors can be defined by their visual sense, but I think it is more accurate to state that what defines them is the themes they are obsessed with present in each film regardless of genre.
BFC: What was the main premise your latest film?
In a documentary, subject determines content. Syd Mead creates worlds for his clients. These spaces truly only exist in his mind, or on celluloid, if we are fortunate enough to have a film based on one of his creations. I wanted to enter his mind and explore those worlds, and to discover his process of creation.
BFC: What have been the obstacles you've run into in making films in general?
Whether one is making a documentary or a narrative film, the tension of creation always stems from the war between CONTROL and CHAOS. CONTROL is what you had planned. CHAOS is what you didn't expect. Whether no budget, or high budget, everyone wants perfect performances and perfect sound. BUT, sometimes the mistakes or irritations created by chaos can IMPROVE the end product if one is willing and flexible enough to use or allow them.
Case in point, I was filming a scene in a public park where I could not control the sound of cars, gardeners, or people who do not belong in the world my film is trying to create...SO, the actors had to say a line, wait for sound, say another line, wait for sound, say another line, and so on ad infinitum. I shot 2 hours of footage to make a 3 minute scene. Going through that footage was a pain in the ass, but you know what, the feel of the scene was ENHANCED by the actor's frustration and the space between line deliveries resulted in more intense focus on their part which made the scene much more effective. Unfortunately, sometimes the chaos is completely at odds with the mood you are trying to create and you just have to be patient, easier said than done. I always try to find a way to incorporate these things whenever possible, after all, LIFE isn't perfect, neither is making a film, but sometimes chaos while imperfect, can be more INTERESTING!
BFC: Why the obstacles on the film fest circuit? What are you doing to overcome them?
A lot of the documentaries out there deal with the subject of war, politics, social issues, and/or controversy. My documentary is not about that. It is about Art!
...and, it is a Film about an artist who is revered around the world, yet it has no studio/famous name money behind it. It exists in a paradoxical space. So, ...I've taken matters into my own hands and started to promote the film myself using cyberspace to establish a direct link with the fan base and great things ARE starting to happen. I believe we live in a truly exciting time where ART and TECHNOLOGY are uniting to CREATE new opportunities!
BFC: What is one mistake that you do not want anyone to recreate?
The first film I made, the ending did not work. I know that now. I didn't know that then (2000). Why? It did not go far enough in creating the feel that the film required. I didn't know how to do it back then. I do now. FAILURE is a wonderful teacher as long as you never fail the same way twice. If you're not RISKING enough, then your comfortably MEDIOCRE. Don't be afraid to FAIL, you may just SUCCEED!
BFC: Do you have any words of inspiration for Bullfighter's that want to follow in your footsteps?
Be ORIGINAL! Why be a COPY? Who you are is INFINITELY more interesting than trying to be somebody else. It's more unpredictable. Don't worry about being LIKED! Say what you have to say sincerely. EVERYTHING has ALREADY been done or said, BUT it has not been done or said the way YOU would if you were being HONEST with us.
07/06