during the course of a director's career, especially in the beginning, he will find himself having to ask favors to friends and people whose work he respect. i mean, I did, and still do (just to be precise, "asking a favor" means asking someone to work for you for free). I have multiple people I keep going back to work with, but one vfx collaborator that stands out and deserves his own little space is Markus Wagner. Hailing from Austria, he basically worked on almost every project I've done since my documentary Megunica (check this little teaser he did for the film). He's like the dream collaborator, basically. Incredibly versatile, always willing to do his best, always bringing something of his own to the project and always willing to tell you gofuckyourself if you're asking too much of him.
The latest projects he worked on for me were the For a Minor Reflection music video (about to come out) and some really fun vfx for the N.A.S.A. film.
So, since the only reason he worked on my projects was for passion, the very least thing I can do is share with you his new live visuals reel and suggest you use him for your next project. He does also vfx of course, which you can go check on his website.

Blade Runner private screening on a friend's rooftop in downtown. looks like everything is going according to plans.

As visual artists, we might rephrase the question as something like: How has the Internet changed the way we see?
For the visual artist, seeing is essential to thought. It organizes information and how we develop thoughts and feelings. It's how we connect.
So how has the Internet changed us visually? The changes are subtle yet profound. They did not start with the computer. The changes began with the camera and other film-based media, and the Internet has had an exponential effect on that change.
The result is a leveling of visual information, whereby it all assumes the same characteristics. One loss is a sense of scale. Another is a loss of differentiation between materials, and the process of making. All visual information "looks" the same, with film/photography being the common denominator.
Art objects contain a dynamism based on scale and physicality that produces a somatic response in the viewer. The powerful visual experience of art locates the viewer very precisely as an integrated self within the artist's vision. With the flattening of visual information and the randomness of size inherent in reproduction, the significance of scale is eroded. Visual information becomes based on image alone. Experience is replaced with facsimile.
As admittedly useful as the Internet is, easy access to images of everything and anything creates a false illusion of knowledge and experience. The world pictured as pictures does not deliver the experience of art seen and experienced physically. It is possible for an art-experienced person to "translate" what is seen online, but the experience is necessarily remote.
As John Berger pointed out, the nature of photography is a memory device that allows us to forget. Perhaps something similar can be said about the Internet. In terms of art, the Internet expands the network of reproduction that replaces the way we "know" something. It replaces experience with facsimile.
Eric Fischl & April Gornik - Visual artists

Taken from the massively interesting World Question Center's "How Has The Internet Changed The Way You Think?" website

i am back in LA, and last night had my craziest, absurdest, surrealest, untellablest, not-grandchildren-story-material experience here to date.
on an unrelated note, this is a picture of an elder man playing Wii bowling in a senior recreation center.

yesterday i went to visit the town where i used to spend summers during my childhood. this is my uncle having some problems with his Apecar.

yesterday i went to visit the town where i used to spend summers during my childhood. this is my uncle having some problems with his Apecar.

I don't know how you handle it because it is a constant thing. I think what I always try to do is say to myself, "How did I feel about this last one when I was around this point, was I feeling good?" The answer to that is usually, "No, you were feeling terrible. You didn't even know that you wanted to make the movie."
There are always times when you don't know if it's a movie.
Wes Anderson on self-doubt and screenwriting

back in my hometown for a while.. when I got home, my mom had prepared a surprise for me: some of my old stop motion characters reunited, in one stylish wooden box. you'll be able to recognize the Sweaty Boxeur, me, my father, Becruno (beheaded), the Mad Jackall, Mafia Dude, Clockwork Orange Dude, and others. all these guys were brought to life by me and my brother (with questionable results) during my teenager years in silly stop motion experiments.



this is one of my favourite experiments. i think i was 16 when i did this. synopsis: a glimpse into the life of a bored drug dealer.

Mighty8, the music video division of my lovely production company, has a shiny new website, full of beautiful clickable moving images.

as i try to finish all my other projects, i also try to keep this website alive, so you people don't think all i do is to sit home and draw penguins buying groceries. here is a video i shot a couple years ago in Prato, Italy, in which Blu and Ericailcane paint a wall. without asking permission. but i guess it's clear enough from the video.