This year, Michael Rubin connects the dots from independent cinema to the Lucasfilm Computer Division, and the creation of not only Pixar, but modern editing, sound, animation, effects and games.
Rubin is the author of Droidmaker: George Lucas and the Digital Revolution (2006).
Animation, computer graphics and videogame creation all had common history from the rise of independent cinema in the ‘70s, in particular, with the dreams and passions of filmmakers George Lucas and Francis Coppola. What was it about these men and their earliest work that led to the universe of entertainment technology we see everyday? The events at Lucasfilm, an exceptionally private company, are not widely understood, but their implications are widespread. The Lucasfilm Computer Division laid the foundation for—and led directly to--the birth of Pixar. How? And why? Rubin will connect the dots from diverse fields of entertainment—editing, sound, animation, effects, games—and show what might be called the “singularity” of these at the Lucasfilm Computer Division in the early 1980s and the most important legacy of Lucas today.
Paul Topolos: a year in the life of WALL-E.
Paul Topolos joined Pixar Animation Studios in 2002 as a matte painter on The Incredibles. He then worked on Cars before his work on the upcoming Disney-Pixar’s Ratatouille. Paul is responsible for creating many of the Paris cityscapes and backgrounds that appears in the film. Prior to Pixar, Paul worked at the Lucas companies in both the game and film divisions. For LucasArts, he drew storyboards, concept designs and built, painted, art directed and lit 3D sets for video games. At Lucasfilm, Paul was a storyboard artist on Star Wars Episode I: The Phantom Menace and the matte painter in the pre-visualization department on Star Wars Episode II: Attack of the Clones. His last work is the Pixar film Wall-E.