Debbie Denise, Thomas Haegele, Richard Hollander, Eugene Rizzardi Jr. to garner Lifetime VES memberships
The Visual Effects Society (VES) has revealed the identities of several special 2020 honorees including the recipient of its Founders Award, industry exec Ray Scalice, as well as four new Lifetime VES members.
Scalice is being honored for his contributions to the art, science or business of visual effects and meritorious service to the Society. For more than 40 years, Scalice has served in executive management positions with Lucasfilm Ltd, Industrial Light & Magic, Walt Disney Company and Pacific Title Digital. Currently, and with more than 80 film credits, Scalice holds the position of general manager/executive producer for Pixel Magic. Scalice started his career at the Walt Disney Company in 1976 and within a year, he was promoted to finance manager of the entertainment development division, and began his ascension in pivotal executive positions.
A founding member of the Visual Effects Society, Scalice has served in multiple leadership roles, including many years on the Awards Committee and as co-chair of the Business, Labor & Law Committee, and as a member of the global Board of Directors. Scalice is also an instructor/lecturer on the Motion Picture Industry for the school of business at Woodbury University.
Additionally the VES designated visual effects producer Debbie Denise, professor and FMX founder Thomas Haegele, visual effects supervisor Richard Hollander, and VES and model shop supervisor/special effects artist Eugene “Gene” P. Rizzardi, Jr. with Lifetime VES memberships, an honor recognizing meritorious service to the Society and the global industry.
Executive producer Denise has been involved with the visual effects and animation industry for almost 30 years. Inspired to enter the VFX business after watching Who Framed Roger Rabbit, she joined Industrial Light & Magic where she worked with Ken Ralston, Robert Zemeckis and Steve Starkey, producing the visual effects for Death Becomes Her and Forrest Gump. After moving to Sony Pictures Imageworks with Ralston, they continued their longstanding relationship with the filmmakers on Contact and Cast Away. Denise has shepherded many groundbreaking films through Sony Pictures Imageworks as EVP of production for the visual effects and animation on such films as The Amazing Spider-Man, Alice In Wonderland, Watchmen, Superman Returns, Academy Award® nominated Stuart Little, Harry Potter, Men In Black II, Cloudy With A Chance of Meatballs 2, and Hotel Transylvania.
After working as a freelance artist and creative director, Haegele established Polygon, one of the first German production houses for professional computer animation. He is the co-founder of Filmakademie Baden-Wuerttemberg, and was a professor for Animation and Digital Imaging for more than 25 years. He served as the director of the Institute of Animation, Visual Effects and Digital Postproduction, as well as the deputy managing director of the Filmakademie, which has become synonymous with excellence in high-end animation, VFX and postproduction education, consistently producing top talent to the global marketplace. Haegele is also the founder and conference chair of FMX, Europe’s most influential Conference on Animation, Effects, Games and Transmedia.
Hollander is a freelance visual effects supervisor, currently working on Avatar 2 and Avatar 3. As president of the Film Division and sr. visual effects supervisor at Rhythm & Hues Studios, he presided over film production of visual effects for The Lion, The Witch and the Wardrobe, Superman Returns, Garfield, 300: Rise of an Empire, Cat in the Hat and Chronicles of Riddick, among others. Prior to that he was a founding partner, VP and visual effects supervisor at VIFX. Hollander is a member of the Academy of Motion Picture of Arts and Sciences, serving on the Sci-Tech Council and the Executive Committee for the Visual Effects branch, and has co-chaired the Digital Imaging Technology Sub-Committee. He is a founding and long serving board member of the Visual Effects Society and a VES Fellow, and is the recipient of a Scientific and Technical Achievement Award from the Academy of Motion Picture Arts and Sciences.
Now retired, Rizzardi is an acclaimed model shop supervisor and special effects artist, who operated his own model and prop company, Modelwerkes and Special Effects. He started his work in the special effects department as miniature and model maker in the late 1970’s when he worked on Scared To Death, Megaforce, V and V: The Final Battle, and The Hugga Bunch, which garnered him an Emmy Award for Outstanding Special Visual Effects. Further credits include Demolition Man, Apollo 13, Titanic, Alien: Resurrection, Godzilla, American Beauty and Dinner For Schmucks. Rizzardi is featured in the 2011 documentary Sense of Scale. He has served for many years on the VES Board of Directors and is a member of the Visual Effects Branch of the Academy of Motion Picture Arts and Sciences and the Association of Professional Model makers.
“Our VES honorees represent a group of exceptional artists, innovators and professionals who have had a profound impact on the field of visual effects,” said Mike Chambers, VES Board chair. “We are proud to recognize those who helped shape our shared legacy and continue to inspire future generations of VFX practitioners.”
The names of this year’s VES Fellows, Honorary members and inductees into the VES Hall of Fame will be announced at a later date. The honorees and Hall of Fame inductees will be celebrated this fall (details are TBD amidst the evolving COVID-19 public health orders, with an abundance of caution).
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More