The Godfather of Modern Films Wants to Save the Industry - Part One

Note: The following is a first-hand account of my experience meeting film pioneer Douglas Trumbull in early 2015. This story and interview has been posted with his permission. This is part one of a three part series.

It's a chilly day in January, about three hours outside of Boston, Massachusetts. Forget Siri or a GPS - meticulous directions have been given to me as my destination is not easily accessed, nor is it within range of cell phone service. One wrong turn could lead to being lost in a mountain range. I'm no stranger to mountains, but this is my first time in the Boston area and the Turnpike is a strange and foreign land. Truth be told, I'm sure that a traffic ticket will be waiting for me on my return to Los Angeles as I drove through the "EZ Pass" gate without having an EZ Pass, so the necessity to pay attention to the provided directions is key.

The excursion is all in the name of an adventure, a once in a lifetime opportunity. A golden ticket visit to the secret compound of one of the most influential filmmakers of all-time: Douglas Trumbull. His name might not be familiar to some, but Trumbull is one of the pioneers of modern special effects, having worked with Stanley Kubrick on his ground-breaking 2001: A Space Odyssey of which their influence can still be felt to this day. He is the man responsible for adapting the USS Enterprise to the big-screen for Star Trek: The Motion Picture. He created a future unlike that ever seen in Ridley Scott's Blade Runner, and his directorial debut Silent Running heavily influenced works including George Lucas' Star Wars.

I'm on a mission on behalf of Warner Home Video as we work on a documentary for the Gravity: Diamond Luxe Edition. The project was and is one of my favorite pieces of work to date, mainly because it granted me the opportunity to talk to several of my heroes including Ron Howard, John Dykstra, and Dennis Muren about a topic that we all love. But little do I know that Trumbull is going to be kind enough to spend the better part of the day with me, to show me everything he's been so hard at work on out on his farm. Quite literally to open the doors to his playground and give me a personal tour of his most recent work.

Arriving at the destination, I attempt to pull into the long drive way leading to an expansive farm. My snowtire-less rental car has a bit of difficulty on the long and steep driveway, completely covered in shade and thus also completely covered in a coat of black ice but upon a successful third attempt to ascend I pull into Trumbull's farm house. It's an idyllic atmosphere for a kid born in rural Colorado: a farm house, a barn and stable, and open area as far as the eye can see. While George Lucas' Skywalker Ranch is a meticulously recreated vineyard style compound, you would never guess that some of the most revolutionary technology is being developed within the very much functional and working farm. Chickens cross over the dirt driveway in front of you, the soft crunch of a thin layer of snow under your tires is the only other sound heard in a peaceful and serene atmosphere. As I exit the rental car, the farm house door opens. Emerging are Douglas himself and his wife Julia to greet me. Their warmth and welcoming demeanor is akin to visiting family back home as we meet in person for the first time. Trumbull's enthusiasm is infectious as we wait for my camera crew to arrive in a second car and he takes us on a quick tour of his farm. First up, he takes us into his office where he has a breakfast spread waiting. A film and book library on the top floor impresses us and my Director of Photography and I start talking about camera angles to set up for our interview in that room. But Trumbull informs us that we're not to film there. There's a far better location suited to filming that we'll get to: first, coffee and breakfast. The all-business Hollywood approach is gone, replaced with the personal touch of a film fan. We chat films, visual effects, and our shared love of how everything works as we eat. With breakfast finished, the tour continues.

Trumbull takes us into a small barn where miniature models and soundstage sets are fabricated. First up is a large barn that deceptively hides his combination sound stage and prototype 3D theater. The state of the art stage is completely camera-ready, a green screen cyc surrounding a lighting grid. Sitting next to it is a stadium seating theater with a curved screen at the front. Adjustable and movable panels surround this prototype theater as Trumbull explains that he can change any and all of the viewing conditions of this theater instantly: the height of the seats, the curve of the screen, it's all in the name of creating the perfect 3D viewing experience.

(On left: a very awe-stricken Troy Benjamin, at center: Douglas Trumbull, the purveyor of a brand new life for the theatrical experience showing off his masterpiece.)

(On left: a very awe-stricken Troy Benjamin, at center: Douglas Trumbull, the purveyor of a brand new life for the theatrical experience showing off his masterpiece.)

The tech-head in me is completely in awe of the theater setup. I can only describe it as if being a car aficionado in one of the legendary garages of a well-funded collector with several rare and exhilarating pieces all on display. Much as a gear-head would have their breath taken away with the prospect of taking one of the cars for a spin, Trumbull says the interview can wait and to take a seat. He wants to personally do a demonstration of his Magi 3D system for myself and my crew.

He begins by giving us a bit of a precursor to what we're about to see: the modern cinema experience is dying. The communal experience of attending a movie in a cinema has given way to watching films on streaming services like Netflix or even on mobile devices. The surround sound and in-home viewing technology has advanced that many people prefer watching films in the comfort of their own home theater rather than shelling out $15+/ticket to watch the latest release among an audience that can't stop looking at their Snapchat feed for 90 minutes in a darkened theater. The good news is that technology allows filmmakers to tell any story that their imagination can deem worthy. The bad news is that the current climate usually relegates those stories to a smaller screen.

And it is here that Trumbull's grand vision enters the story. He wants to get audiences back into movie theaters by giving them something that absolutely cannot be replicated at home. Something so compelling that you wouldn't want to watch it on your 3.5" iPhone screen.

Trumbull hands us all active 3D glasses of his own design, makes sure that all the batteries are charged and the glasses are in sync, then takes a seat in a tech booth behind the theater seats. With the touch of a button a blackout curtain surrounds us, closing us into the theater space. The lights dim and a film that Trumbull shot and directed plays. It's a high-frame rate, 3D feast for the eyes. Some of the best 3D that I've ever seen without ghosting, without strange motion blur, without losing brightness or exposure after putting on the glasses, and without the nauseating side-effects that plague some of the worst 3D experiences. Simply put, Magi eliminates all of the major and common complaints of 3D movie-going audiences. For myself and my crew, it takes some adjustment at first. We're trained and used to the 24 frames per second projection in theaters to replicate the film projection look. Unlike when you visit a friend's house and they have the fluid motion on their LCD television turned on, it doesn't have the "soap opera" effect. The motion is smooth and fluid, without feeling fake or jarring. The demonstration film ends with a sign hanging in front of you that's so realistic, I would swear that Trumbull pushed another of his automated buttons on the console to drop a real sign from the rafters. Alas, he did not. The effect of his 3D is just that impressive. In fact, it has completely ruined 3D elsewhere for me. I've seen a few films, even with laser projected IMAX technology behind them. But none have come close to the viewing experience I had that day.

Sufficiently blown away by what we'd seen, we start setting up for the interview in the soundstage space. Chatting all the while about how Trumbull can do everything here at his farm, including planning, shooting, post and of course, projecting the film that we just watched. It's my dream, to live in the country but to have a completely self-sufficient film studio where I could spend my days fine-tuning everything. Trumbull's enthusiasm never fades as he watches us set up for the interview, quizzing my excellent local Director of Photography Michael Mulvey on his camera of choice and why he chooses to shoot on that particular model.

Finally, with all of our lighting in place, and a little help in setting the shot from Trumbull himself, we're ready for our interview. Little did I know, what should have been a twenty minute conversation on the evolution of how space and space travel has been depicted in films would turn into one of the most engaging discussions I've ever had in the film industry.

Next: Part Two - The Interview.

Marvel Cinematic Universe Guidebook in Stores Today, Citizen Jane in Theaters Friday!

2017 is shaping out to be pretty darn hectic. I'll attempt to do my best at keeping shameless self-promotion to a tolerable minimum. But this week's a big one.

The first collected volume of the Marvel Cinematic Universe Guidebook is out today. Additionally, a feature film I co-produced called Citizen Jane: Battle for the City hits theaters and on-demand this Friday. Talk about two different projects releasing in the same week... but hold onto that thought, we'll come back to that. They might be more connected than you think.

Let's start with the Marvel Cinematic Universe Guidebook. My part in the book was small, but I was honored to be a contributor to the original monthly releases and can't wait to have this 192-page collection sitting on the shelf. The first hardcover volume collects the encyclopedic entries for the original Iron Man film through Thor: The Dark World. The famed OHOTMU (Official Handbook of the Marvel Universe) team was incredibly gracious and kind to let this newbie tag along, and I learned so much working with them. I can't recommend this book enough to both die-hard and casual fans alike. It'll be available starting today in local brick and mortar stores, Barnes and Noble (and on Nook!), and of course via Amazon (and on Kindle!). Volume 2 won't be far behind, with a December 2017 release date and pre-orders already available.

Next up, Citizen Jane: Battle for the City. About two years ago, I jumped onto good friend Corey Reeser's staff at Altimeter Films to help he and Matt Tyrnauer wrap up several projects. The first feature film release of those projects is Citizen Jane. This is a documentary that focuses on urban planning and a question of how a city should grow and function. It explores that question through the two very different viewpoints of Jane Jacobs and Robert Moses. It's a fascinating subject and the film gives a great primer to the uninitiated (like me). I've been proud to be a part of the post-production process. It was incredibly challenging to see the film through finishing, mix and delivery, and I've also been part of the social media team. A theatrical run starts April 21st, and the film is also available via on-demand through IFC Films. For more information, check out the Altimeter Films website here.

You might be thinking, "Troy, that's very cool but why are you lumping these two things into one post?" The answer could be chalked up to sheer laziness. Or the fact I'm on a deadline and pressed for spare time. But check this out - - I'm about to blow your mind. Granted, I've since learned that I'm not the only one who has noticed this connection. But just the same, I'll explore it. Ready?

I bet I can connect our documentary film about Jane Jacobs and Robert Moses' battle over city planning to the Marvel Cinematic Universe.

In the first season of the Netflix Daredevil series, Wilson Fisk (played by Vincent D'Onofrio) looks to rebuild the neighborhood he loves in the image of his choosing. Hell's Kitchen, where he grew up, has been overtaken by crime, slums, and affordable housing. Which makes it a desirable locale for two lawyers on their own who do a lot of work pro-bono for those in need like Matt Murdock and Foggy Nelson. But Fisk would love for the grime to be torn down and replaced by shiny and more modern, high-income yielding property. Fisk believes what he's doing to be just, even though his methods and underground connections are highly questionable.

In one of the most terrifying moments of the first season, Fisk breaks into the home of reporter Ben Urich. He attempts to explain himself to Urich, pleading that he's not the bad guy. He just wants what's best for the city that he loves. As he sits ominously in the darkness, the production has very explicitly chosen to highlight a crucial part of set decoration over his shoulder: the seminal biography on Robert Moses, The Power Broker. The speech he gives to Urich could be right out of Moses' own testimonial found within the pages of the biography.

Sure enough, if you watch our documentary Citizen Jane: Battle for the City, Robert Moses believes what he's doing to be right. That there's a cancer in his city. He wants to tear it out so that the city can heal. And, one would imagine, to prosper financially. Though the comparison stops about there, there is one further piece to the connection here:

In Citizen Jane: Battle for the City - Robert Moses is voiced by none other than the great Vincent D'Onofrio himself.

For a much more thorough examination, the New Republic wrote a great article at the time of the production that I've since discovered. The author also goes so far as to compare Jane Jacobs to Daredevil. I won't cover that ground, as it might retread on my prior examination that Jane Jacobs is a bit like RoboCop. The New Republic article is a fascinating read that I highly recommend, especially after you view the new documentary as a primer.

So there you have it. Two seemingly unrelated thoughts melded into one. What's next to shamelessly plug? In September, Agents of S.H.I.E.L.D. fans will be able to get their hands on the fourth installment of the Declassified series. October is going to see the release of a fun book that I can't quite talk about yet (but is up for pre-order for those with fine-tuned investigative skills). And December, as mentioned will be the second hardcover collection of the GMCU!

And in 2018, I'll attempt to hibernate to recover.

Comet: The Best Television Channel You Probably Aren't Watching

Hey there, SPTers. Long time, no speak? Apologies for the lack of updates recently. Your ol' pal Troy has been slammed as of late with a variety of projects, including a couple documentaries, a couple book projects, and an exciting prospect or two. An unexpected window in the schedule seems to have popped up, so I figured what the heck, send out a quick blog to sing the praises of a newfound obsession.

This holiday season, I was visiting the family back home. My old childhood room still has a small TV with rabbit ears and my wife and I were flipping through channels late at night on New Year's Eve. We stumbled across one of the most bizarre b-movies. It was one of those films that you see 12 frames of in passing and immediately yell, "What the hell was that?" and flip back to the channel it occupied.

The film was New Year's Evil, and it was just exactly what the doctor ordered for a 3am post New Year celebration viewing. But with the discovery of the old 1980 horror film also came the discovery of a new over-the-air network called Comet.

According to the most-reliable resource, the internet, Comet was founded a couple years ago in 2015 but I've just now discovered it. The broadcast channel is airing across the country and their daily programming includes (but is not limited to) cult classic films, b-movies, episodes of The Outer Limits, Mystery Science Theater 3000, and the various Stargate television series. Essentially, it's the modern nerd's dream come true. Since New Year's, my wife and I have watched horrible science fiction films. We've endured several takes on Dracula including The Return of Count Yorga and Blacula and its sequels. And of course, every Sunday night, we partake in at least one episode of MST3K like clockwork.

This is the television channel I would have been tuned into religiously as a thirteen-year old. And especially in this day in age, where adolescence is perpetual and nostalgic nerds are being catered to by the millions, it's turned into a station that I'm tuned to religiously as an adult.

And chances are, it's already broadcasting in the airwaves above you at this very moment. Only one way to find it: grab a set of bunny ears to hook into that 4K UHD flatscreen of yours, check the listings here for a channel number, and get ready for grainy 4x3 b-movie glory.

Posted on February 22, 2017 and filed under TV.

A Conversation with Author Troy Benjamin at The Marvel Report!

Ming-Na Wen (and Arthur) showing of the first season Declassified book! (Photo Courtesy Ming-Na Wen's Twitter)

Ming-Na Wen (and Arthur) showing of the first season Declassified book! (Photo Courtesy Ming-Na Wen's Twitter)

With great thanks to Lauren at The Marvel Report, I recently engaged in a fun conversation about the process behind writing the Agents of S.H.I.E.L.D. Declassified books, specifically Marvel's Agents of S.H.I.E.L.D. Season Three Declassified (on shelves and in stores now, go buy it - it's fun)!

Here's a small sample of the interview along with a link to check out the full article!

Walk us through your writing process: are you on set during filming? Do you have to wait to see what happens when the episodes air? Do you get to visit the set and conduct interviews during filming season?
Step one: procrastinate. Step two: panic. Just kidding to my amazing editors Jeff and Sarah, I promise I’m working hard! The first step is getting the scripts and reading them over with a fine-tooth comb, then looking at the schedule and seeing when key moments or set pieces are being filmed. Then I’ll go on set and observe as much as I can. I like to be a fly on the wall and just see how things are done, while also taking notes as I discover things happening. I’ll be writing both the episode synopses and the behind the scenes entries as we go and occasionally getting some one on one interviews to capture some thoughts in the moment. Because of the nature of filmmaking, things change and are constantly fluid so I definitely watch the network aired episodes multiple times and make changes as necessary. Depending on the schedule of everyone involved, I like to do several waves of interviews so that I get thoughts in the moment, then with a little bit of distance, then at the end of the season looking back on everything as a whole.

Give the full article a read at The Marvel Report here!