Hollywood What If Chapter 221
Industrial Light & Magic(ILM), a certain pany that were very famous in the industry. To be precise, it was a pany that produced special/visual effects for Hollywood movies.
This pany was founded by Gee Lucas. The purpose of this pany was actually for the special effects for Star Wars movies. At that time, the special effects in Star Wars were already an amazing achievement. In 1977, it was very hard to replicate. Maybe that is one of the reasons why Star Wars became a blockbuster, a unique blockbuster.
The pany's VFX (visual effects) busiook off after that. Sihen, they have worked on many movies and domihe industry. Most projects that needed special effects would look for them because their teology was indeed more advahan others.
Harry Potter franchise.
The Mummy franchise.
The Mission: Impossible franchise.
The Back to the Future franchise.
If listed, these titles could fill aire neer. Ohing was for sure, Industrial Light & Magic ruled Hollywood in VFX. That was the truth.
Perhaps only Weta Workshop or Weta Studio could pete with ILM. Weta Workshop was the studio responsible for the special effects in Lord of the Rings, The Hobbit, King Kong, and Avatar.
Weta Workshop was also one of the first studios to use motion capture teology. They used it to transform Andy Serkis into Gollum. They also used it to turn the cast of Avatar into blue aliens. The same thing happened i of the Apes.
At the moment, Kazir Grey ehe Industrial Light & Magic studio. o him was his assistant, Erica Mendez. He wao see the progress on the ses he had requested.
Some of the ses in Wanted required special effects. Especially the bullet time, the ses where the bullets were floating in the air in slow motion. Kazir Grey wao make the ses as realistic as possible.
Industrial Light & Magic was the only pce he could tura Workshop was based in New Zeand, and Kazir didn't have the time to travel there.
The produ budget of Wanted was set at 75 million, and 1/3 of that budget would probably go to Industrial Light & Magic to create satisfying special effects.
"Directrey, good to see you again."
"Jerome."
Kazir shook the man's hand. The person in front of him was Jerome Dawson, the studio head of Industrial Light & Magibsp;
Kazir Grey and Erica Mendez followed the man, leading them inte studio where a group of people were editing the trajectories of bullets on their puters.
Frame by frame, they were building the se. ILM already had a frame animation of the bullet from a long time ago, so they didn't have a hard time replig it.
"This is our progress for ten days, what do you think?"
Jerome Dawso up a puter for them to watch. The se pying on the puter was of a sniper's bullet flying through the air in a otion.
"It's not that bad. Let's set up the tract. My wyer and agent will be at the studio tomorrow."
"That's good to hear, director."
There was o dey. Kazir had already chosen to work with ILM. They were the best VFX pany for decades to e. He trusted them.
After watg the minute-long se for the fifth time, Kazir stood up and looked around at the crew. Most of them were using a program whose name he had no idea.
Kazir left the studio and Erica Mendez followed him.
"Sir, is that all? We just spent half an hour here."
"Erica, you have known me for almost four years now. I'm sure you know why."
"Well, you're an introvert and you never leave your offiless it's reted to your movies."
"That's right."
The two walked down the hall.
As they walked, Kazir saw two people he reized. However, he didn't have mutera with them. Ohing was for sure, he respected one of them.
Three people were talkihe exit of the building. One was a strao Kazir while the two were known personalities.
"I think, I think I know that girl. Where have I seen her before?"
Erica muttered weakly, w.
Gee Lucas was talking to a middle-aged woman who seemed to be trying to vince him.
o the middle-aged woman was a young erhaps an 18-year-old woman.
Kazir khe young woman, it was Natalie Portman. The woman who won the Oscar for Best Actress for her performan Bck Swan.
Natalie Portman had appeared in many films, but Kazir knew her best as Padme Amida iar requel trilogy, Evey Hammond in V For Vea, and Jane Foster in the Marvel ematiiverse.
Anyway, Kazir felt that the versatioweewo adults was not going very well.
"Gee, why don't you increase Natalie's s time iar Wars sequel? I think she has an important role to py irilogy."
'Indeed, Padme Amida pys an important role. She was the real mother of Luke Skywalker. Aight, o spoil people.' Kazir couldn't help but monologue in his mind.
"I uand, Cire, I will try what I ."
Gee Lucas smiled, not taking her seriously. He had many people who asked him for favors.
The famous director looked away and realized that someone was actually approag them. Kazir k might be awkward, but he wao say hello to Gee Lucas, he just wao.
"You're Kazir Grey, right? The director of Taken and The Bourne Identity."
"Yes, Mr. Lucas."
"You call me Gee, we are both directors."
"I'm a fan of Star Wars."
"I'm gd to hear that."
The two directreeted each n the middle-aged woman.
However, the middle-aged woman was not angry at all. Instead, she smiled amiably and took out a business card.
"Hello Directrey, I'm Cire Gilmore. I'm Natalie Portman's agent. I work at CAA."
"Oh, so you're from CAA." Kazir was a little surprised.