Här fortsätter min intervju med Eric, del 1 hittar ni Här

Q: Bullet Man ( which is the Tetsuo remake ) is a part of a very specific
genre, the japanese is very skilled in making these dark sci-fi movies.
Since you were excellent in Bullet Man i wonder if you have any plans to be
a part of more movies of this genre?

Ah, well my ‘plans’ are not relevant to the direction my life takes. I
never had a plan to live in Tokyo, but I do. And there was many
things I had `planned` to do and something completely different happened. I
get called for roles, to audition for projects, and they
are in a variety of genres.
Certainly I would love to take more dark sci-fi roles, absolutely. And it
would not bother me if I became someone you see more and more
in that genre.

I want everyone to know that on a regular basis I contact
directors and producers
around the world and send them my portfolio of materials, I would like to
continue working in
dark fantastic roles in any place in the world.
What I really like are fantasy films, films which have a mythos of ancient
magic and plenty of sword fighting.

John Boorman’s Excalibur has
always been a personal favorite. Since Tetsuo I have been getting more and
more roles in historical dramas, because I am able to create
characters that can match a time period, and change my behavior to suit the
time. Not to mention re-create authentic accents. I think the amount of
actors who can do solid
authentic historical work is less, so I’ve been getting tapped to do more
and more of that work.
I ride my fate my rather then plan it, so we can see what happens only when
it comes to me.

Q: I did notice that you were a motion capture actor for the 2003 game
Castlevania. How is it to work as a motion capture artist?

I’ve been working solid with the gaming industry in motion capture. With the
years of dance and fight training I have it lends me a strong physical sense
for creating character. I recently worked on Soul Calibur 5, and I’d like
everyone to check out the work I did on Zwei and Voldo in particular, coming
soon. I’m on the top of the list for motion capture actors in Tokyo.
There is so much of the character that gets created in motion capture, the
way I gesture and move with characters will be followed by the voice actors
later who match the scenes. As example if I chose to point at someone, or swing
my sword, voice actors would have match that in voice pattern and speed.

Basically I wear a velcro body suit that technicians attach reflective
spheres to. Each motion capture studio has its own formula of places they
place the spheres for copying limbs and joints. In most cases I receive the
script and story boards before the shoot. I memorize the lines, and try to
visualize the moments based on the story boards. Motion capture cameras are
placed all around the area, generally I see between 20-30 cameras in a grid
that covers the entire space. The cameras project light beams that reflect
off the retroreflective spheres. Software triangulates the points and draws
out a wire frame in the computer. Motion capture gives two benefits in
animation, it allows realistic movement, and saves animators time in trying
to make characters move about. They can get creative with the wire frames
later, my vampire characters in Castlevania had their limbs stretched longer
and were made taller to loom over the protagonist. We use prop guns and
swords with the same reflective dots, furniture, and mats and spring boards
for jumps. Some directors who really want movement realistic will insist on
using props of the same weight as a real item.

It’s interesting many years ago I played the first Castlevania and the first
Contra, I stayed up all night playing those, I think I finished Castlevania
three times. What the hell, years later I’m motion capturing characters for
the same series.

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