To create cinematic illusions, you need conjurors. In this series of spotlight interviews, we ask movie magicians what makes them tick.
Kyle McCulloch is a visual effects supervisor at Framestore. Ask him what his career highlights are so far and he’ll tell you, “Guardians of the Galaxy, Beauty and the Beast, Thor: Ragnarok and Pan.”
CINEFEX: How did you get started in the business, Kyle?
KYLE McCULLOCH: I was a nerdy kid in film school who loved stop-motion and animation work. I was obsessed with the great fantasy films of the 80’s – Labyrinth, The Dark Crystal, The NeverEnding Story – and just wanted to be a part of making that kind of magic. I was actually a pretty terrible student, and couldn’t get an internship doing anything animation-related, so I took what I could get and started as an intern in the marketing department for Curious Pictures, an animation studio in New York City. Over a couple of years there, I weaseled my way into reception, then the tape room, then production, and finally into the role of junior compositor.
CINEFEX: What aspect of your job makes you grin from ear to ear?
KYLE McCULLOCH: As much as I love the digital wizardry that we create in post, I still get goosebumps watching the combined might and skill of a film production put something remarkable on film. Standing in the Great Hall from Harry Potter, or watching the Milano from Guardians of the Galaxy fly on a stage at Shepperton, I often think how completely geeked out my 15 year-old self would be.
CINEFEX: And what makes you sob uncontrollably?
KYLE McCULLOCH: A lazy reliance on CG and postproduction. The best results happen when the various creatives and departments work together to make a plan, and everyone works hard to do their bit to the best of their ability. It’s always a bit crushing to be presented with an avoidable, uphill battle in post, where the bulk of your energy will be spent fixing rather than polishing.
CINEFEX: What’s the most challenging task you’ve ever faced?
KYLE McCULLOCH: I think I faced some of my biggest challenges as a visual effects artist working at The Orphanage. It was a remarkable group of people who were constantly hitting above their weight in terms of the quality of the work they did. We were a relatively tiny shop with limited resources, but we still managed to create and finish some stellar stuff. I’m still really proud of the Iron Man HUD. There were many, many late nights – and a fair few moments where I was absolutely sure we weren’t going to be able to deliver – but in the end we made something iconic. I get a major rush seeing each new iteration of the HUD in the progressive Marvel Studios films, seeing how different artists interpret and continue to grow what we started.
CINEFEX: And what’s the weirdest task?
KYLE McCULLOCH: I didn’t actually get to work on it myself, but The Orphanage did a rather remarkable melting penis sequence in Planet Terror. It still gives me nightmares.
CINEFEX: What changes have you observed in your field over the years?
KYLE McCULLOCH: The thing that constantly surprises me is the scale at which visual effects is operating today. Working on a Marvel Studios show, you can’t help but be impressed at the scale and scope that they deploy visual effects in their films. I couldn’t have imagined projects like that 10 years ago. The other – welcome – change is that visual effects is seen as more of a partner on film sets, helping the other creatives and departments to achieve their goals. We’re no longer the strange folks in the corner painting things green!
CINEFEX: What advice would you give to someone starting out in the business?
KYLE McCULLOCH: Don’t start at one of the big shops! I was so fortunate to spend my first few years working in a smaller facility. We may not have been doing the most glamorous work, but being a part of a small team meant I got to sit next to, and learn from, a much wider variety of artists and technicians. I was given lots of opportunities to grow and challenge myself, and learned to think on my feet and solve problems. Those were all things that served me well once I made the switch to the big facilities.
CINEFEX: If you were to host a mini-festival of your three favorite effects movies, what would you put on the bill, and why?
KYLE McCULLOCH: The NeverEnding Story – as a wee boy, this movie captured my imagination completely. It’s all practical work, and much of it doesn’t fit the aesthetic of what audiences expect today, but I still love everything about this film.
The Matrix – talk about a game-changer! This film still holds up, and was such an amazing example of how visual effects would come to be integral in the visual storytelling media. I mean, how many news stories did they do about bullet time?!
The Lord of the Rings: The Fellowship of the Ring – this film was really personal for me. I was still doing commercial work in New York, and I’ll never forget sitting in the theater watching this film, thinking, “I HAVE to go work on features!” It was magic, taking audiences to a complete other world, and represents what I love most about visual effects.
CINEFEX: What’s your favorite movie theater snack?
KYLE McCULLOCH: Two tubs of popcorn – one sweet and one salty.
CINEFEX: Kyle, thanks for your time!