A master of visual effects and digital experimentation, Pitof Komar became famous after the atmospheric detective film Vidocq (2001), which became the first film in history shot exclusively with digital cameras. True, this was followed in his directorial career by the failed sub-blockbuster Catwoman (2004), which received four Golden Raspberry anti-awards. After that, the director focused on working with visual effects and virtual reality.
In an exclusive interview with Cutinsight.com, Pitof explained how in the near future virtual reality will offer an alternative to cinema, take shape as an independent art form, and also be able to bring Marilyn Monroe or Charlie Chaplin to life.
Is virtual reality the future of cinema or will these two forms of art continue to exist in parallel?
I don’t think virtual reality will change cinema. For example, painting or opera continue to exist despite the advent of the art of cinema. I am currently developing projects that will allow the use of virtual reality for meditation and remote conferences or lectures. Also, thanks to virtual reality, a person gets the opportunity to visit places that are inaccessible to him in ordinary reality.
Can virtual reality be called a new full-fledged art form?
Undoubtedly. Each type of art presents the viewer with a new experience. Cinema at one time made the image movable and offered something new after static photos and paintings. The same can be said when comparing cinema with virtual reality. True, for virtual reality to become a full-fledged art form, some more time must pass. This art form is still in its infancy.
First of all, equipment for immersive virtual reality must become more convenient. The current glasses and helmets, with the help of which you immerse yourself in a parallel reality, are too heavy. This distracts from the maximum effect of presence.
In recent years, a number of films shot in virtual reality format have appeared. How will this genre affect the development of cinema?
I don’t think the virtual reality format is really suitable for film language. Virtual reality is very self-sufficient. It gives a person a unique experience and turns him from a spectator into a participant. When a person watches a movie, he looks at one point. And once in virtual reality, the action begins to take place at any point around him. Cinema is built on a plot, but in virtual reality the plot is born in the process of its perception.
Which existing virtual projects do you consider successful?
I really liked the piece “Night Cafe”, which allows you to go inside Van Gogh’s paintings. I remember that this work made an impression on both children and adult viewers.
With the help of modern technologies, it has become possible to draw personalities that do not exist today and film them in a modern film. Thus, today you can release a film, for example, with Marilyn Monroe or Charlie Chaplin. How realistic do you think this prospect is?
I think in a few years this will be quite possible. And, of course, a little expensive. True, such a revival of deceased personalities would be much more interesting to use for virtual reality, and not just for cinema. For example, in the virtual world it would be possible to recreate the same Monroe and make it so that everyone could not only look at this actress, but also communicate with her as with a real person. Artificial intelligence will allow this. A similar principle should be used in education. So that students in the virtual world can communicate with historical figures. This will make it possible to better understand them.
You’ve been working in computer graphics and visual effects for films for decades. What are the latest trends in this area?
In the last century, computer graphics were a kind of highlight of the film. There wasn’t much of it, and usually the creators of the paintings focused attention on it. Today, computer graphics in cinema have become ubiquitous. For example, often in modern blockbusters, with the help of computer graphics, the actors are given a kind of makeup, painting over their wrinkles and making their faces more beautiful. A few years ago it was too expensive, but today it has become affordable.
Graphics are still quite expensive to produce. But every year its price decreases. Also, back in the early 2000s, high-quality computer graphics specialists were based in only a few countries (USA, France, Germany, Japan). And today good professionals in this field can be found in many countries.
You have worked on major film projects both in Europe and in Hollywood. Where is the most comfortable place for a filmmaker to work?
It’s not easy to work anywhere. Of course, the US film industry is much richer. But that doesn’t make it any easier to work here. Filmmakers often idealize Hollywood. Despite the fact that there are many opportunities and resources in the American film world, it is very easy to lose yourself here. And this,
unfortunately, it happens to many. Hollywood is a business. There is no magic here.