Aired on M6 this July 27, the Disney film “Maleficent”, carried by Angelina Jolie, is the first realization of Robert Stromberg. Totally unrecognized by the general public, the person concerned has yet to his credit a sacred picture of hunting!
Larger budget granted for a first production, thus exceeding that of another Disney film, Tron the legacy in 2010, Maleficent, broadcast tonight on M6, is the first film signed by Robert Stromberg. A choice all the more astonishing as Brad Bird, Tim Burton then David Yates, more than largely seasoned directors, were approached at first sight to carry out the film.
If we will not insult you to introduce you to Angelina Jolie, the main interpreter lending her features to the character of Maleficent, it is not useless to look at the pedigree of Robert Stromberg. Because if he signs with this film his first feature as a director, this one has quite a pedigree in the field of visual effects!
From Docks to Drawings
Robert Stromberg is the son of filmmaker William R. Stromberg and brother of composer William T. Stromberg. For his entry into professional life, he worked on the docks for more than two years but was fired for a lack of discipline: he drew during his working hours! Robert Stromberg is subsequently accepted to the art school Art Center in Pasadena. He moved from Carlsbadà to go to Los Angeles.
Later, through acquaintances, he begins a work of production assistant and pushed by the producer who appreciates him, he confides to him his interest in visual effects and matte painting (cinematographic specificity which consists in painting a decoration to embed filmed scenes on it). He then obtained a job as an illustrator. At 20 he found himself in Canada, in Toronto. His first experience was on a Saturday morning children’s show, “Captain Power”.
Some time later, hired by a company called Illusion Arts, there he meets Syd Dutton and Bill Taylor who are part of a group of Universal Studios. He then worked on Star Trek: first contact and the Star Trek: the new generation series then on Star Trek, Deep Space Nine and Star Trek: Voyager. Albert Whitlock (famous creator of matte painting of Universal) and Syd Dutton take him under their wing. He learned a lot from them for seven years.
His career in the cinema really begins at the end of the 1980s, still under the benevolent eye of Dutton. He got his hands on projects such as the thriller Les Nerfs à vive (1991), Des hommes d’honneur (1992), The Values of the Addams Family (1993), Is there a cop for to save Hollywood? (1994), Doctor Patch (1998), Alone in the World (2000), Men in Black II (2002) Catch Me If You Can (2002) and Bad Boys II (2003).
In 2002 for Master & Commander, he spent a year alongside Peter Weir, a formative experience. She takes it from design to manufacturing. His work on this film earned him three nominations and one victory: an Oscar citation for best visual effects, a citation to the BAFTA Film Award for the best achievement in visual special effects, a citation to the Visual Effects Society Award for Second Best Visual Effects in a movie, shared with Brooke Breton and winning an award Golden Satellite for the best visual effects.
A size for digital visual effects
He then decided to set up a company in parallel, specializing in digital visual effects called Digital Backlot. She starts to be successful and works on a lot of commercials and a few movies. He continues his momentum with Martin Scorsese for Aviator, then on the adaptation of the Ghost Rider comic book and on Pirates of the Caribbean: Until the End of the World (id.). In 2011, he received a nomination to the Primetime Emmy Award for the special effects of the Boardwalk Empire series.
Robert Stromberg also reveals himself as the visual effects designer for 2012 and Shutter Island. He became production designer for James Cameron’s Avatar, for which he received in 2010 with Rick Carter and Kim Sinclair a citation at the Saturn Award and an Oscar for best artistic direction. A year later, along with Karen O’Hara, he received the Oscar for best artistic direction for Alice in Wonderland from Tim burton.
Sacred hunting table anyway …