Joseph Kosinski
Joseph Kosinski
Joseph Kosinskiis an American television commercial and feature film director best known for his computer graphics and computer generated imagery work. He made his big-screen directorial debut with the Disney Digital 3-D science fiction film Tron: Legacy, the sequel to the 1982 film Tron. His previous work has primarily been with CGI related television commercials including the "Starry Night" commercial for Halo 3 and the award-winning "Mad World" commercial for Gears of War...
NationalityAmerican
ProfessionDirector
Date of Birth3 May 1974
CountryUnited States of America
For me the Blu-ray version is kind of the definitive version of the movie.
Certainly there's pressure while your making the movie.
You want the film to be critically successful - you certainly want the film to be financially successful so that you can...well, because that's how movies like this are made, you know, they need to make money. But as a director, you can only make the movie that you want to make.
I think that while you're making the film it's important to just keep your eye on the ball and make the best movie you can, and then realize that it's out of your control.
I was always looking for a career that could combine my creative interests with my technical side, and it ends up directing films is the perfect combination.
The movies I make and my interests are always about pushing the technology as far as we can in support of telling great stories and showing an audience things they haven't seen before.
I don't wear glasses, so I like the idea of not having to put them on to watch a movie. It's a hard barrier to get beyond.
I heard, one of my producers told me this story where like the Hollywood studios brought all these high-end consultants in to try to figure out how to improve their process and make films more efficiently, and these consultants like studied the process for years and finally came up with this report they put together about how studios can improve the efficiency of their process, and the conclusion was "have the script ready by the time you're shooting.
I'd like to have the script in a much better place from day one of shooting, rather than trying to continue to work on it while you shoot it. I think those are lessons you learn on any film.
When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.
I always had some kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
I grew up in a place where no one knew anyone in the entertainment business, I never knew it was an actual career.
So Disney has their full support behind it, which is great, but again it's got to be the right story. It's got to be a script that's up to snuff and worth going back for. The idea's there, the ambition's there, the excitement's there; but we need to have all the pieces in place before they would ever pull the trigger on that.
I think some people are under the impression that you can simply just shoot it on blue, and then it's all done in post. But no, you really need to understand the pipeline, from beginning to end.