| 1. Did
you first start with traditional media? How did
you progress towards sequence design? |
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i actually went from wanting to be a car designer to
a fine artist to an illustrator to a traditional print
graphic designer into a motion designer that became
a sequence designer that wants to be a live action director
who will soon want to be a politician of some random
state so i can be filthy rich and see my self on tv
a lot. |
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| 2. Being
surrounded with the highly skilled line-up that
is Transistor
Studios must generate strong positivity and
production .What can you tell us about the atmosphere
at Transistor Studios? |
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its very flex, i work a lot from both the right
and left coast. where as the enviro changes from
left to right. left being venice beach california
and right being new york city where all the big
dreams come true. transistor for life is a little
sea shanty we like to chant in the mornings. |
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| 3. Please
describe the following projects and the creative
process behind : |
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RNRHOF
rock&roll hall of fame was a project i
did for my good friend daniel garcia (aka purple
jesus or the new prince) at super-fi back in 2002.
i got durty durty on that one, feels good to be
bad ass sometimes.
for awhile there i was doing a lot of rock stuff,
which is always fun and mindless and mtv is so
lax that your able to jam out hot biz.
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VH1
classics - My Request Summer
M.R.S was fun to make. keith from the band soviet
was my rock star in the spot shouting into the
mic. he even remixed the audio for it. this was
one of those contrived, lets make it stupid and
funny... pieces that are always a pleasure to
work on, no stress just sweet and low. sans the
dextrose and soluble saccharin. |
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| 4. Would
you say that your work consciously reflects characters
and situations found within your daily life? |
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most of the characters or mannerisms like the
hyper/high strung-ism you are referring too would
solely reign from my own hyper-thetic self. which
in turn organizes itself into sequence and we
all get to watch it play. documenting the thoughts
and ideas into a series of frames that literally
could be measured w/ a ruler and stored for safe
keeping in ones attic for ever. |
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| 5. What
has been your greatest project challenge to date?
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directing this revlon spot i just wrapped. only
due to its high financial responsibility. when
your on set w/ over 50 people, most who you have
never met all there waiting for your call can
be very taxing. the challenging part is to stay
cool and pick your battles, there are some many
little things that must be considered and evaluated
when shooting a commercial, and if your like me,
you obsess over every detail as if you were in
after effects staring at the biz frame by frame
knowing inside no one is evvvvvvvver going to
really care! so once you let that go and focus
on the big stuff, your there, and thats something
im still learning,. deep breaths. |
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