Formerly Of Straight Cut.
By MILLIE TAKAKI
Offline editor Tim Millard has come aboard Crazy Horse Editorial, Santa Monica. At press time, he was wrapping for his new roost a package of Zicam cold remedy spots, directed by Greg Whiteley of Populuxe Pictures, New York, via Los Angeles agency Kovel/ Fuller.
Millard formerly edited at Straight Cut, Santa Monica, where his credits included commercials for Canon, KFC, Halls lozenges and Weyerhauser. The Weyerhauser ad was directed by Irv Blitz of Los Angeles-based Morton Jankel Zander (MJZ) for Dailey & Associates, Los Angeles. Blitz and Millard have collaborated regularly on spots.
A U.K. native, Millard began his career in ’90 at The Tiny Epic Video Co., London, where he focused primarily on music videos. After three and a half years there, he turned freelance, cutting a documentary series, numerous music clips and corporate films. Then he relocated to Los Angeles in ’95, studying feature film editing at UCLA. Millard then began freelance editing in the Southern California market, establishing working relationships with directors including Blitz and Rocky Morton of MJZ. Millard ended his freelance tenure in April ’98 when he joined the aforementioned Straight Cut. Blitz and Morton later recommended Millard to Crazy Horse.
Millard joins a Crazy Horse roster that also consists of offline editors Steve Svendsen, Noel Oliver and Jeff Hinman, who teamed to launch the company in ’92; effects supervisor/online editor Josh Kirshenbaum; and graphics designer Chris Secrest. Cindy Carey continues as Crazy Horse’s executive producer.
Tim Burton Discusses His Dread Of AI As An Exhibition of His Work Opens In London
The imagination of Tim Burton has produced ghosts and ghouls, Martians, monsters and misfits — all on display at an exhibition that is opening in London just in time for Halloween.
But you know what really scares him? Artificial intelligence.
Burton said Wednesday that seeing a website that had used AI to blend his drawings with Disney characters "really disturbed me."
"It wasn't an intellectual thought — it was just an internal, visceral feeling," Burton told reporters during a preview of "The World of Tim Burton" exhibition at London's Design Museum. "I looked at those things and I thought, 'Some of these are pretty good.' … (But) it gave me a weird sort of scary feeling inside."
Burton said he thinks AI is unstoppable, because "once you can do it, people will do it." But he scoffed when asked if he'd use the technology in this work.
"To take over the world?" he laughed.
The exhibition reveals Burton to be an analogue artist, who started off as a child in the 1960s experimenting with paints and colored pencils in his suburban Californian home.
"I wasn't, early on, a very verbal person," Burton said. "Drawing was a way of expressing myself."
Decades later, after films including "Edward Scissorhands," "Batman," "The Nightmare Before Christmas" and "Beetlejuice," his ideas still begin with drawing. The exhibition includes 600 items from movie studio collections and Burton's personal archive, and traces those ideas as they advance from sketches through collaboration with set, production and costume designers on the way to the big screen.
London is the exhibition's final stop on a decade-long tour of 14 cities in 11 countries. It has been reconfigured and expanded with 90 new objects for its run in... Read More