So I could give them a couple months and they said "It's only going to be maybe a month. I had a commitment to go off on another show as a visual effects supervisor, but wasn't going to start for a few months. They each called me separately asking me If I were available for a few weeks. I had also worked with Back to the Future's Co-Producer Neil Canton on Buckaroo Banzai. I had worked previously with Larry Paull, the Production Designer, on Blade Runner and had worked with Unit Production Manager Dennis Jones on Buckaroo Banzai and a couple other projects. How did you actually get involved with the production of Back to the Future? While your involvement with the production might not have been long, I think fans will be interested in hearing some of your stories with the development of some of the most iconic props in film history. They seem to greatly enjoy knowing that I designed the Flux Capacitor - and had a small hand in naming it. Out of my entire career, the thing the students seem to get the biggest kick out of is my involvement with the Flux Capacitor. Honestly, I came in and did a little work and then I left, but what is interesting in a funny way is that I now teach at The University of Southern California. I know you had left the production before the DeLorean was finished, but have you done a Back to the Future interview before? You were hired to solve design and construction issues, primarily for construction of the DeLorean time machine. Thank you for taking time to speak to us about your involvement with Back to the Future. Fink continued to have a successful career after Back to the Future as a visual effects supervisor on such films as Batman Returns, and won an Academy Award for Best Visual Effects, and a BAFTA Award for Best Special Visual Effects for the film The Golden Compass.ī is pleased to present this exclusive interview with Michael Fink with insights about the DeLorean time machine: He brought in Michael Scheffe to finish out the construction of the time machine when he had to leave the film production. Fink who had started working in special effects on the film China Syndrome, had also worked with Paull on Blade Runner, and Canton on Buckaroo Banzai.įink worked on Back to the Future for a few weeks designing the flux capacitor and laying out the exterior and interior of the DeLorean. They all knew they needed someone to transfer the concepts to an actual built and functioning film prop. Larry Paull, along with production manager Dick Jones and producer Neil Canton all reached out to Michael Fink to be an art department liaison for the construction of the DeLorean time machine. It was art department liaison Michael Fink who would solve the great mystery of the flux capacitor. Probert thought the flux capacitor should be on the overhead console, while Cobb had an idea of a flux capacitor on the roof. One item that was never determined by Probert or Cobb was the flux capacitor. Under the direction of Oscar nominated production designer Larry Paull, designers such as Andrew Probert and Rob Cobb had been developing concepts for the DeLorean time machine. Many artisans worked to create Back to the Future's famed DeLorean time machine.
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