BẢN CHÉP ÂM THANH 🔗
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Created for geeks, by geeks, and remember to always geek responsibly.
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Thank you for joining us for a Geek Network interview. We have a very special guest with us today.
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We have Hiroshi who has some great work to talk to us about with today.
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I'm going to go ahead and kick it off to Alba who's going to go over some questions.
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Hi, so we hear you're coming out with a new movie that you directed called End of Loyalty. Can you tell us more about it?
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Okay, so this is the movie. It's the revenge film of the the Mafia's son who his father is get killed and he takes the revenge.
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But at the same time, he has a friend who works in the law enforcement and trying to stop him whatever he can do.
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And so this is a story about the revenge and the friendship and who is struggling between the friendship and law.
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Okay, are we going to be seeing a lot of suspense in the movie then?
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Yeah, suspense and action, of course.
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Okay, and that one's coming out on March 7th, I believe, correct?
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Yeah, that's right.
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Okay, well, I love all of your work, so I can't wait to see it.
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So how did you get into the world of special effects makeup to begin with?
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Oh, wow, that's a long time ago. I was 19 and, you know, starting from just building my own portfolio in the back then,
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like the early 90s, and it's not much information and we have to make something and to show.
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And once we get the portfolio, just apply to some studios and I just started as an intern.
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Okay, so you had to start from the very bottom.
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Yeah, of course.
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Was it a lot of hard work once you started as an intern?
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Was there a lot of climbing after that?
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Yeah, yeah, so the intern means, you know, no paid.
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So, you know, which is fine. I just started.
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I didn't have I just move out from Japan.
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I didn't have a working visa, so legally I couldn't get paid anyway.
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So, but, you know, I worked harder than anybody
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who was getting paid.
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You know, everybody leaves like a 7 p.m., but I always stayed after that.
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So I did anything, everything I could do.
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So then after a few months, you know, after finishing the one movie and the owner just paid me.
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Oh, that's awesome. Do you remember which movie it was that they all started?
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Yeah, that's the movie called The Freaked.
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There's the Alex Winter, you know, which is like a Bill and Ted, Excellent Adventures.
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And there's like a Keanu Reeves and Mr. T and Randy Quaid and the Brook Shields.
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It's a crazy comedy movie. It's a cult movie.
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Oh, okay. Yeah.
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That's an awesome cast.
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Yeah, yeah, well, it was.
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I'm so excited, you know, people I was watching in the movie and I get to see them.
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It was an amazing experience.
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Oh, man, I bet that's got to be so cool.
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Do you have like any advice for anyone that wants to start out nowadays
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if they want to do something along the similar line?
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Yeah, at least you may have to show, you know, what you can do.
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So many people talk about and I can do this, I can do that, but we never trust that.
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That's we trust behavior, what they have done.
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So and also personality is very important.
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We are expecting beginners to be good, but we are not expecting they're going to be good.
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So by you know, they have to listen, you know, take direction really well.
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So we just be just humble and try the best you can do and, you know, don't give any attitude.
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Wise words.
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Yeah.
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Now from from way back then on that movie, now you're working on things like Avatar,
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The Way of Water, which is a huge movie with a bunch of special effects.
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How much can you guys get away with just like CGI and how much do you still have to rely on
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on the special effects makeup or props?
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Oh, I see. That's the pretty much I would say CG.
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But it's the what I worked on is the the reference for the CG people and one of the Navis,
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you know, you Navi people.
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So we created the the
life-size bust and then so CG guys can, you know, take a look at as a reference.
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So, you know, a lot of shots ended up, you know, become the CG,
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but CG people just using the actual products.
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So you guys make like a big origin and then they go off of that for the reference.
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Yeah. Yep.
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Very cool.
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Now, did you have to do that as well for like the big animals like the like the Tukun, the whale?
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Oh, that one is yeah, I don't know. It's a many, many different studios were working on it.
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So it's yeah, it's hard to tell, you know, which one did what way it was.
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Everything was so good.
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Some I believe, you know, there's the many maquettes, you know, clay maquettes.
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And yeah, but not sure, you know, I don't think someone build that.
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Okay. Yeah.
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That's a lot of little pieces that come together and then like CGI kind of puts it all together at the end.
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Yeah.
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Okay.
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And, you know, you have such an extensive career from like the nine starting in the 90s.
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Is there any special effects or like practices or methods that are still being used today from from back in the 90s?
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Yeah, I mean, basically, there's a performer actor where the prosthetic makeup.
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So it's still same.
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And animatronics is getting less and less because of the CG.
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You know, we were building the mechanical moving creatures and all the large sized dinosaurs.
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But, you know, it's becoming, you know, the technology of CG and quality is getting better and better.
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So it's become less and less.
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But, you know, like many, you know, for the makeup stuff, prosthetic stuff, it is still using a lot.
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Okay.
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Imagine is it is that a whole lot more makeup now that the actors have to wear?
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Yeah, now and then it's the same.
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After after so many years in that field, what sparked you wanting to jump into the director's chair?
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Well, it's like before I started this career, I was into movies itself, not just the makeup effects.
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But I love movie in general.
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And earlier days, I realized that still making movie is more what I
wanted to do.
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You know, that's like I was 20 years old and I didn't think of, you know, just making movie back then.
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But that's realized my friend were in a school just learning the making the independent film, the student film.
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Then when I hear that, I just realized, wow, oh, that's what I wanted to do.
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You know, that's not just a makeup.
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I know this is making movies.
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So that's that I was 20 years old and I was just starting to become independent.
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I was making money with makeup effects and just make it in my own.
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And back then, it was like early 90s.
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I have to go to like a college to study, take a film course and get equipment from there and get people to work with.
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And I couldn't afford that.
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So until digital technologies developed.
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So actually, you know, that's what I wanted to do this long time ago.
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Well, that's awesome. It's really great to see the progress that you've made and how hard it is.
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You know, you worked hard and now here you are about to come out with this movie.
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So we're really excited to support and watch it as well.
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It sounds like a great movie.
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Yeah, it's right hard to do that.
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It's yeah, you're an inspiration.
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We love to see that.
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Yeah, thank you. Thank you.
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During your career, have you seen anything or what do you think has been the most impactful advancement in the special effects?
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Well, it's the biggest one ever was Jurassic Park.
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The first one came out in 1993.
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Yeah, it's the new, totally new technology.
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It's not like developing gradually.
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It's all of a sudden just came up and freaked out everybody.
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That's the way the CGI started.
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And so that's the one thing.
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And the other thing is like avatar also, you know, it's like without applying the actual physical piece on the actor,
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you know, like she's using the actor, the face, track the movement and then apply the digital appliance on top.
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So that's the that's another evolution of the makeup effects.
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OK, so it was like these two movies that kind of like made the right.
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Yeah, maybe not. Not just avatar.
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It's the planet of the apes.
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So that's the that's before avatar, I think.
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Yeah, technology was there, but gradually developed.
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But in avatar was so perfect.
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You know, that looks really real.
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OK, and what do you find the most challenging thing to be in special effects?
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Hmm. Well, that's the tough question.
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It's the what we do is usually, you know, like some there's a performance inside.
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So it's the sometimes we have to cheat the original proportion of a human being.
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And there's of course, the limitation because, you know, there's the people inside.
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So that's always a challenging to make it look like somebody is not inside.
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While trying to like erase the actor and make it into this like being that that is the animation.
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Yeah, so we often combine like a green screen is like a part of a face or a part of a body.
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You know, use the green and the erase and have extended, you know, arm or legs as a puppet.
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So, you know, we make those combinations also in order to changing the human proportion.
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OK, yeah. And do you have like a social media where people can follow you or see your works?
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Yeah, can follow the Twitter or the Facebook under my name, Hiroshi Katagiri.
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Awesome. Well, thank you so much for joining us today.
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We look forward to seeing your movie and we can't wait to see what else you come out with.
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We hope to talk to you again soon. Maybe after we watch the movie, we can talk about it and we'll discuss how awesome it was.
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Great. Great. Thank you.
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All right. This has been a Geek Network interview.
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Thank you guys so much for joining us. Artlist IO.