ImageMovers

We started a little studio that started working on Spielberg and Zemeckis projects, and, um, that included War of the Worlds, that included The Polar Express, um, Beowulf, and Monster House, um, were the big, the big movies that we worked on, uh, while we were at Ice Blink.

And that, that then led us to, uh, Ice Blink becoming kind of the seed team for ImageMovers Digital, which was Robert Zemeckis's attempt at creating a production, uh, studio, uh, under the Disney banner to, uh, create motion capture technology, uh, foundation animated films.

And allow Bob and other directors that had a practical experience of directing actors to allow for those actors to be enhanced by animation and their performances to be captured, but pushed to, uh, you know, 11, so to speak, by companies, uh, like, like, like, the, in, uh, Industrial Light & Magic had done for a little while, but, like, we were gonna make our bread and butter, which was motion capture, uh, at ImageMovers Digital.

So when you're going from working with George Lucas to working with the Wachowskis, Spielberg, Zemeckis, is your role changing at all? Or are they all basically using you in the same way?

Um, the role is [laughs] man, the, the responsibility grows, um, certainly-

So speaking of growth, I mean, at what point do you decide that it's time to move on for your next adventure and find yourself stepping into the video game industry?

Well, uh, sometimes you don't decide that for yourself.

[laughs] Sometimes-- So, uh, uh, ImageMovers Digital was doing great.