<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Scott Ross Archives - Kevin Goetz</title>
	<atom:link href="https://kevingoetz360.com/tag/scott-ross/feed/" rel="self" type="application/rss+xml" />
	<link>https://kevingoetz360.com/tag/scott-ross/</link>
	<description>Entertainment &#38; Movie Strategist • Author • Podcast Host • Entrepreneur</description>
	<lastBuildDate>Fri, 23 May 2025 15:02:06 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>
	hourly	</sy:updatePeriod>
	<sy:updateFrequency>
	1	</sy:updateFrequency>
	<generator>https://wordpress.org/?v=6.9.4</generator>
	<item>
		<title>Don’t Kill the Messenger welcomes Visual Effects Legend and Studio Executive, Scott Ross</title>
		<link>https://kevingoetz360.com/scott-ross-vfx-ai-hollywood-future/</link>
		
		<dc:creator><![CDATA[Managing Editor - AB]]></dc:creator>
		<pubDate>Fri, 23 May 2025 15:02:06 +0000</pubDate>
				<category><![CDATA[All]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Podcast]]></category>
		<category><![CDATA[AI and VFX]]></category>
		<category><![CDATA[AI in film]]></category>
		<category><![CDATA[audienceology podcast]]></category>
		<category><![CDATA[Digital Domain]]></category>
		<category><![CDATA[digital filmmaking]]></category>
		<category><![CDATA[Don’t Kill the Messenger podcast]]></category>
		<category><![CDATA[evolution of visual effects]]></category>
		<category><![CDATA[film industry future]]></category>
		<category><![CDATA[filmmaking technology]]></category>
		<category><![CDATA[Hollywood VFX]]></category>
		<category><![CDATA[ILM]]></category>
		<category><![CDATA[James Cameron]]></category>
		<category><![CDATA[Kevin Goetz]]></category>
		<category><![CDATA[movie technology trends]]></category>
		<category><![CDATA[movie visual effects]]></category>
		<category><![CDATA[Scott Ross]]></category>
		<category><![CDATA[Stan Winston]]></category>
		<category><![CDATA[VFX and artificial intelligence]]></category>
		<category><![CDATA[visual effects careers]]></category>
		<category><![CDATA[visual effects industry]]></category>
		<category><![CDATA[visual effects pioneer]]></category>
		<guid isPermaLink="false">https://kevingoetz360.com/?p=7919</guid>

					<description><![CDATA[<p>Visual Effects Pioneer Scott Ross on Movie Magic and the AI Revolution  Don't Kill the Messenger host Kevin Goetz welcomes visual effects legend Scott Ross, whose remarkable career spans from running Industrial Light &amp; Magic (ILM) to co-founding Digital Domain with James Cameron and Stan Winston. In this conversation, Ross takes us through  [...]</p>
<p>The post <a href="https://kevingoetz360.com/scott-ross-vfx-ai-hollywood-future/">Don’t Kill the Messenger welcomes Visual Effects Legend and Studio Executive, Scott Ross</a> appeared first on <a href="https://kevingoetz360.com">Kevin Goetz</a>.</p>
]]></description>
										<content:encoded><![CDATA[<p><div class="fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:30px;--awb-margin-top-medium:0px;--awb-margin-top-small:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-center fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-text fusion-text-1"><h1><strong>Visual Effects Pioneer Scott Ross on Movie Magic and the AI Revolution</strong></h1>
</div><div class="fusion-text fusion-text-2"><p><em>Don&#8217;t Kill the Messenger</em> host Kevin Goetz welcomes visual effects legend Scott Ross, whose remarkable career spans from running Industrial Light &amp; Magic (ILM) to co-founding Digital Domain with James Cameron and Stan Winston. In this conversation, Ross takes us through the evolution of visual effects, from practical models to digital technology, and offers compelling insights on the industry&#8217;s future with AI. As the visual effects visionary behind iconic films like <em>Terminator 2</em>, <em>Titanic</em>, <em>Apollo 13</em>, and <em>What Dreams May Come</em>, Ross offers insights into the world of VFX and what the future has in store for the industry.</p>
</div><div id="buzzsprout-player-17201312"></div><script src="https://www.buzzsprout.com/2026579/episodes/17201312-scott-ross-visual-effects-pioneer-producer-and-entrepreneur-on-creating-movie-magic-and-the-future-of-hollywood-effects.js?container_id=buzzsprout-player-17201312&player=small" type="text/javascript" charset="utf-8"></div></div></div></div><div class="fusion-fullwidth fullwidth-box fusion-builder-row-2 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:30px;--awb-margin-top-medium:0px;--awb-margin-top-small:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-center fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-text fusion-text-3"><h2><strong>From Film Student to Visual Effects Pioneer</strong></h2>
</div><div class="fusion-text fusion-text-4" style="--awb-content-alignment:center;"><p>Scott Ross&#8217;s journey into visual effects wasn&#8217;t planned. Initially, he studied film at Hofstra University in the early 1970s, but his motivation wasn&#8217;t necessarily artistic passion, &#8220;What I really wanted to do was keep my butt out of Vietnam.&#8221; After graduating, Ross eventually found himself in the visual effects industry during its most transformative period, the early 1980s, when <em>Star Wars</em> and <em>Close Encounters of the Third Kind</em> had revolutionized cinema:</p>
<p>&#8220;At the time, it was maybe three companies that were doing work like we were doing at Industrial Light and Magic, and it was coming off of Star Wars and Close Encounters of the Third Kind. And so Hollywood, in a lot of ways, as I&#8217;m sure you&#8217;re quite aware, was turned upside down. So for all of these years, they were making these musicals and Bible stories and whatnot, and all of a sudden this new thing came in called sci-fi. And Sci-fi blew away everybody.&#8221;</p>
</div></div></div></div></div><div class="fusion-fullwidth fullwidth-box fusion-builder-row-3 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:30px;--awb-margin-top-medium:0px;--awb-margin-top-small:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-center fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-text fusion-text-5"><h2><strong>From Practical to Digital: The Evolution of Visual Effects</strong></h2>
</div><div class="fusion-text fusion-text-6"><p>Ross provides a fascinating window into the pre-digital era of visual effects at ILM:</p>
<p>&#8220;At Industrial Light and Magic, when I got there, everything that was being done was being done optically and chemically, there was no digital. So it was models and miniatures shot on celluloid film. Generally, Vista Vision, which is 35 millimeter eight perf. So the film moves from left to right as opposed to up and down.&#8221;</p>
<p>He also explains how we perceive visual effects differently as technology evolves:</p>
<p>&#8220;I&#8217;m a kid and I&#8217;m at the Ward Theater in the Bronx, and I&#8217;m watching <em>Flash Gordon</em>, black and white, really horrible visual effects models and miniatures that are bouncing all over the place, scaled. That doesn&#8217;t work. But when I&#8217;m eight years old watching that, I&#8217;m thinking to myself, wow, that&#8217;s great. I mean, I bought it. I bought it a hundred percent.&#8221;</p>
</div></div></div></div></div><div class="fusion-fullwidth fullwidth-box fusion-builder-row-4 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:30px;--awb-margin-bottom:20px;--awb-margin-top-medium:0px;--awb-margin-bottom-medium:0px;--awb-margin-top-small:0px;--awb-margin-bottom-small:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-justify-content-center fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-padding-top:30px;--awb-padding-right:30px;--awb-padding-bottom:10px;--awb-padding-left:30px;--awb-bg-color:#f5f5f5;--awb-bg-color-hover:#f5f5f5;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:60px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-1 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;"><h2><strong>Rising Through the Ranks at ILM</strong></h2></h3></div><div class="fusion-text fusion-text-7"><p>Ross describes his unexpected path to becoming general manager at ILM:</p>
<p>&#8220;I interviewed with 45 people, including the receptionist. And somehow I passed mustard and I got the job. And then I moved up the ranks very quickly to become the general manager.&#8221;</p>
<p>In a surprising revelation, Ross shares that despite overseeing George Lucas&#8217;s visual effects empire, &#8220;I only met George twice. In deference to George, I&#8217;m a huge fan of George Lucas and what he&#8217;s done and what he&#8217;s done for the industry. I&#8217;m a huge fan of his movies and he&#8217;s an incredibly introspective, uncomfortable around people and he just retreated.&#8221;</p>
</div></div></div></div></div><div class="fusion-fullwidth fullwidth-box fusion-builder-row-5 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:30px;--awb-margin-bottom:20px;--awb-margin-top-medium:0px;--awb-margin-bottom-medium:0px;--awb-margin-top-small:0px;--awb-margin-bottom-small:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-justify-content-center fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-4 fusion_builder_column_5_6 5_6 fusion-flex-column" style="--awb-padding-top:30px;--awb-padding-right:30px;--awb-padding-bottom:10px;--awb-padding-left:30px;--awb-bg-color:#f5f5f5;--awb-bg-color-hover:#f5f5f5;--awb-bg-size:cover;--awb-width-large:83.333333333333%;--awb-margin-top-large:0px;--awb-spacing-right-large:2.304%;--awb-margin-bottom-large:60px;--awb-spacing-left-large:2.304%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-2 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;"><h2><strong>Founding Digital Domain with James Cameron and Stan Winston</strong></h2></h3></div><div class="fusion-text fusion-text-8"><p>Ross&#8217;s career took another leap when he co-founded Digital Domain with James Cameron and Stan Winston in 1993. He shares the story of how this powerhouse trio came together:</p>
<p>&#8220;Because of the names attached, mostly Jim&#8217;s name, we have this press conference at the Four Seasons in Beverly Hills, and everybody shows up, and we&#8217;re on the front page of the Hollywood Reporter and we&#8217;re on the front page of Variety. So it was not like this twitchy kind of company that starts, we have IBM as our investor, and we have Jim Cameron as the chairman of the company. So it was like right out of the stall, we&#8217;re running at a hundred miles an hour.&#8221;</p>
<p>On his partnership with Cameron, Ross is unequivocal about the director&#8217;s talents: &#8220;Jim Cameron is one of the greatest filmmakers that ever lived.&#8221;</p>
</div></div></div></div></div><div class="fusion-fullwidth fullwidth-box fusion-builder-row-6 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:30px;--awb-margin-bottom:20px;--awb-margin-top-medium:0px;--awb-margin-bottom-medium:0px;--awb-margin-top-small:0px;--awb-margin-bottom-small:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-justify-content-center fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-5 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-padding-top:30px;--awb-padding-right:30px;--awb-padding-bottom:10px;--awb-padding-left:30px;--awb-bg-color:#f5f5f5;--awb-bg-color-hover:#f5f5f5;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:60px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-3 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;"><h2><strong>The Economics of Visual Effects</strong></h2></h3></div><div class="fusion-text fusion-text-9"><p>Ross offers eye-opening insights into why visual effects are so expensive and the business challenges behind the industry:</p>
<p>&#8220;They&#8217;re really expensive because of the number of personnel needed to be able to produce the work. I&#8217;ll give you an example. We were just talking earlier before the podcast, and I was talking about <em>Electric State</em>, and I&#8217;m looking at the credits in <em>Electric State</em>. $225 million or something like that. So as you look at each and every department, the departments are 10 people in the camera department, eight producers, five people in the sound department, whatever it is. And 925 people in the visual effects department. That&#8217;s going to change in a very, very big way.&#8221;</p>
<p>He also explains the global competition driving prices down:</p>
<p>&#8220;Studios need visual effects in a very big way because, as you know, as probably is better than anyone else, that the international box office is now more important than domestic box office. And so we know that movies like <em>Driving Miss Daisy</em> are not gonna play in China. So what is it that allows international movies to play across international lines? It&#8217;s imagery.&#8221;</p>
</div></div></div><div class="fusion-layout-column fusion_builder_column fusion-builder-column-6 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-padding-top:30px;--awb-padding-right:30px;--awb-padding-bottom:10px;--awb-padding-left:30px;--awb-bg-color:#f5f5f5;--awb-bg-color-hover:#f5f5f5;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:60px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-4 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;"><h2><strong>The Threat and the Promise of the AI Revolution</strong></h2></h3></div><div class="fusion-text fusion-text-10"><p>When asked about artificial intelligence, Ross provides one of the most balanced assessments of this transformative technology:</p>
<p>&#8220;AI is an incredibly wonderful technology that will revolutionize the way the world works. It will save thousands of lives, and it will make life even more enjoyable than it is. But it&#8217;s a paradox. On the other hand, it&#8217;s also really, really frightening and can do terrible things. We&#8217;ll put lots of people out of work and, in the wrong hands, could be incredibly destructive.&#8221;</p>
<p>For the visual effects industry specifically, Ross predicts a massive shift:</p>
<p>&#8220;My take is 75% of the visual effects workers around the world will lose their jobs to artificial intelligence. And then as artificial intelligence becomes generative AI, right? So it now is more salient and has the ability to create, and I think it will have the ability to create and it cuts even further.&#8221;</p>
</div></div></div><div class="fusion-layout-column fusion_builder_column fusion-builder-column-7 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-padding-top:30px;--awb-padding-right:30px;--awb-padding-bottom:10px;--awb-padding-left:30px;--awb-bg-color:#f5f5f5;--awb-bg-color-hover:#f5f5f5;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:60px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-5 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;">Yet he also sees a silver lining:</h3></div><div class="fusion-text fusion-text-11"><p>&#8220;The good news is that just like when cameras moved from giant Mitchell Blimped, 35 millimeter cameras, of which there were X number in the entire world, and if you wanted to make a feature film, you needed to have access to it. That has now been replaced with fairly democratized technology. So you can shoot a movie now, really, with your iPhone.&#8221;</p>
</div></div></div><div class="fusion-layout-column fusion_builder_column fusion-builder-column-8 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-padding-top:30px;--awb-padding-right:30px;--awb-padding-bottom:10px;--awb-padding-left:30px;--awb-bg-color:#f5f5f5;--awb-bg-color-hover:#f5f5f5;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:60px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-6 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;"><h2><strong>Visual Effects Must Support the Story</strong></h2></h3></div><div class="fusion-text fusion-text-12"><p>Ross emphasizes the fundamental principle that should guide visual effects work:</p>
<p>&#8220;Visual effects should always be there to support the narrative. It should always be there, but sometimes it&#8217;s not.&#8221;</p>
<p>He expands on the collaborative nature of filmmaking:</p>
<p>&#8220;If you&#8217;re a director and you understand that collaboration, and you&#8217;re willing to give, and you&#8217;re willing to take, and you&#8217;re willing to inspire, you wind up getting great work.&#8221;</p>
<h2><strong>Reflections on Iconic Films</strong></h2>
<p>Ross shares behind-the-scenes stories from some of his most memorable projects, including <em>Apollo 13</em>:</p>
<p>&#8220;The movie I most enjoyed working on in my entire life. First of all, you have a director who is comfortable in his clothes. He&#8217;s not second-guessing you. I remember he walked over to Rob Legato, who is the visual effects supervisor on the Saturn five liftoff. And Rob said, so what do you want me to do here? And Ron Howard said, make it look like Marty Scorsese shot it, and that was it. And Rob and the team went away and they delivered it, and Ron said, you nailed it.&#8221;</p>
<p>On The Curious Case of Benjamin Button, Ross notes its groundbreaking nature:</p>
<p>&#8220;It was a real challenge because that was the first time you really needed to create a computer-generated human being that was believable of a very famous person. It&#8217;s one thing if you&#8217;re creating a computer-generated version of somebody we&#8217;ve never met, but if it&#8217;s somebody that&#8217;s really famous, we know what he looks like. That&#8217;s a super challenge.&#8221;</p>
<p>And on Titanic, Ross reflects with humility:</p>
<p>&#8220;Probably the pinnacle of my career. The most famous movie I ever worked on. I always feel like I have imposter syndrome, so like when I&#8217;ll travel around the world and I&#8217;ll give lectures, particularly in Asia, Japan, Korea, and China, when they realize that my company worked on Titanic, I&#8217;m a superstar and I always feel badly because I actually didn&#8217;t do the work.&#8221;</p>
<p>Don&#8217;t miss the full conversation on <em>Don&#8217;t Kill the Messenger</em> to hear more about Mike Marcus&#8217;s Hollywood journey and insights into the legendary films he helped bring to life.</p>
<p>Scott Ross&#8217;s memoir <em>Upstart: The Digital Film Revolution</em> is available now on Amazon.</p>
</div></div></div><div class="fusion-layout-column fusion_builder_column fusion-builder-column-9 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-padding-top:30px;--awb-padding-right:30px;--awb-padding-bottom:10px;--awb-padding-left:30px;--awb-bg-color:#f5f5f5;--awb-bg-color-hover:#f5f5f5;--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:60px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-text fusion-text-13"><p><em>Don’t Kill the Messenger</em>, hosted by movie and entertainment research expert Kevin Goetz, brings his book <strong>Audienceology</strong> to life. This bi-monthly podcast takes a peek behind the filmmaking curtain as Kevin talks with famous filmmakers, studio executives, stars, and other creatives about movies, filmmaking, audience test screenings, and much more.</p>
</div></div></div></div></div><div class="fusion-fullwidth fullwidth-box fusion-builder-row-7 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:60px;--awb-margin-top-medium:0px;--awb-margin-top-small:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-10 fusion_builder_column_1_2 1_2 fusion-flex-column" style="--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-7 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;"><p class="p1">For more information about Scott Ross</p></h3></div><div class="fusion-text fusion-text-14"><p>Wikipedia: <a href="https://en.wikipedia.org/wiki/Scott_Ross_(film_executive)">https://en.wikipedia.org/wiki/Scott_Ross_(film_executive)</a></p>
<p>IMDB:<a href="https://www.imdb.com/name/nm0743824/">https://www.imdb.com/name/nm0743824/</a></p>
<p>Upstart: The Digital Film Revolution (Book): <a href="https://a.co/d/iRhI0uR">https://a.co/d/iRhI0uR</a></p>
</div></div></div><div class="fusion-layout-column fusion_builder_column fusion-builder-column-11 fusion_builder_column_1_2 1_2 fusion-flex-column" style="--awb-bg-size:cover;--awb-width-large:50%;--awb-margin-top-large:0px;--awb-spacing-right-large:3.84%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:3.84%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-title title fusion-title-8 fusion-sep-none fusion-title-text fusion-title-size-three" style="--awb-margin-bottom:20px;--awb-margin-top-small:0px;--awb-margin-right-small:0px;--awb-margin-left-small:0px;--awb-font-size:20px;"><h3 class="fusion-title-heading title-heading-left fusion-responsive-typography-calculated" style="font-family:&quot;DM Serif Display&quot;;font-style:normal;font-weight:400;margin:0;font-size:1em;--fontSize:20;--minFontSize:20;line-height:1.3;">For more information about Kevin Goetz:</h3></div><div class="fusion-text fusion-text-15"><p>Website: <a href="http://www.KevinGoetz360.com">www.KevinGoetz360.com</a><br />
Audienceology Book: <a href="https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678">https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678</a><br />
Facebook, Twitter, Instagram: @KevinGoetz360<br />
Linked In @Kevin Goetz<br />
Screen Engine/ASI Website: <a href="http://www.ScreenEngineASI.com">www.ScreenEngineASI.com</a></p>
</div></div></div></div></div><div class="fusion-fullwidth fullwidth-box fusion-builder-row-8 fusion-flex-container has-pattern-background has-mask-background nonhundred-percent-fullwidth non-hundred-percent-height-scrolling" style="--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;" ><div class="fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap" style="max-width:95.68%;margin-left: calc(-4% / 2 );margin-right: calc(-4% / 2 );"><div class="fusion-layout-column fusion_builder_column fusion-builder-column-12 fusion_builder_column_1_1 1_1 fusion-flex-column" style="--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-order-medium:0;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-order-small:0;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;"><div class="fusion-column-wrapper fusion-column-has-shadow fusion-flex-justify-content-flex-start fusion-content-layout-column"><div class="fusion-text fusion-text-16"><p><span style="font-weight: 400;">For deeper insights into what makes a movie resonate and succeed, don’t miss the upcoming book </span><b><i>How to Score in Hollywood</i></b><span style="font-weight: 400;"> (September 2025) by entertainment research expert Kevin Goetz with Bob Levin. This book unveils the secrets behind success and profitability in the movie business, showcasing how smart, data-driven decisions—from development through release—can help filmmakers minimize risks and maximize returns.</span></p>
<p><span style="font-weight: 400;">Kevin, the founder and CEO of Screen Engine/ASI, is also the bestselling author of </span><i><span style="font-weight: 400;">Audience-ology</span></i><span style="font-weight: 400;">, host of the popular </span><i><span style="font-weight: 400;">Don’t Kill the Messenger</span></i><span style="font-weight: 400;"> podcast, and a speaker who educates the filmmaking community through keynotes and global presentations. In 2024, he was honored with the prestigious American Cinematheque Power of Cinema Award for his transformative contributions to the film industry.</span></p>
</div></div></div></div></div></p>
<p>The post <a href="https://kevingoetz360.com/scott-ross-vfx-ai-hollywood-future/">Don’t Kill the Messenger welcomes Visual Effects Legend and Studio Executive, Scott Ross</a> appeared first on <a href="https://kevingoetz360.com">Kevin Goetz</a>.</p>
]]></content:encoded>
					
		
		
			</item>
	</channel>
</rss>
