Though happening within days of each other, two key staff changes in the commercial and feature visual effects division of Palo Alto-headquartered Pacific Data Images (PDI) are totally unrelated according to company chairman Carl Rosendahl. On Feb. 5, Kevin Townsend resigned from the studio as general manager of spot and feature effects; a role he had assumed just a few months ago (SHOOT, 11/13/98, p. 1).
Then last week (2/10), it was announced that John Bell-production designer on Antz, the noted theatri-
cal feature which the studio co-produced with DreamWorks SKG, Los Angeles-had been named creative director of PDIs commercial and feature effects operation. Rosendahl said that Bells appointment had been contemplated long before PDI learned of Townsends planned departure.
Whereas Bell is best known in the feature arena, Townsends reputation has been earned largely in commercialmaking. Prior to joining PDI, he spent five years at Industrial Light+Magic Commercial Productions (ILMCP), San Rafael and Los Angeles-the first three as its exec. producer, the last two as VP/general manager. He resigned from ILMCP back in June 98, also stepping down as VP of the firms San Rafael parent, Lucas Digital.
Reached at home, Townsend said that as he settled into PDI, it became clear that the business plan that lured him there was becoming less and less what we originally talked about. Townsend explained that he wouldnt have been able to go as far as he had hoped with his vision to further diversify PDI via a significant infusion of certain well-defined creative talent.
Part of what Townsend had been considering for the spot market was to bring in established live-action directors so that agency clientele would have the option of accessing PDI for full production under one roof or going la carte, tapping into either visual effects or live action at the studio. When Townsend first joined PDI, the grapevine was ripe with rumors of his talking to some A-level spot-directing talent and possibly building PDI into what he helped put in place at ILMCP: A full-service production company with staff directors helming spots encompassing live action and visual effects.
Townsend affirmed that he remains a believer in a business plan that combines visual effects and live action … Managing directors careers is what I do best.
Regarding Townsend, Rosendahl said that my only comment is that Kevin resigned by mutual agreement from the company. In general terms, though, Rosendahl refuted any notion that PDIs ambitious growth plans have altered. Our original agenda has not changed at all, said Rosendahl. Our commitment is to growing that division [commercial & feature effects] as evidenced by John [Bell] coming on in a creative position. We plan to continue to add creative talent and were actively recruiting for many positions. That recruitment, confirmed Rosendahl, also includes finding a GM to succeed Townsend.
Rosendahl added that beyond the effects operation, PDI plans to stay on a course of diversifying more into content development, noting that was a prime motivating factor behind selling a 40% stake in the company three years ago to DreamWorks (SHOOT, 3/15/96, p. 1). Antz-which showcased PDIs character and content development prowess-was the first movie resulting from the studios co-production pact with DreamWorks to create original computer-animated feature films. PDI and DreamWorks are in production on a second feature, Shrek, and in prepro on a third, Tusker.
Further underscoring PDIs agenda for growth, related Rosendahl, was the recent appointment of James DeRose as company president/CEO (SHOOT, 12/11/ 98, p. 8). Rosendahl cited DeRoses resume, which includes his running several public companies (i.e.-Acclaim Entertainment, Mattel USA, the knit products retail division of Sara Lee Corp.). Jim came on board, said Rosendahl, to provide the top level business expertise and management needed to make sure that were on a long-term aggressive, successful growth track.
Asked if that growth would include the aforementioned plan of bringing in live-action spot directors, Rosendahl stopped short of committing to that prospect. But the fact that were not announcing a live-action agenda today doesnt preclude us from doing it tomorrow. Were not the kind of company to announce something unless we know we can deliver 100% on it. If we do [get into live action], we want to do it right, with due diligence and intelligence before making an announcement.
John Bell
Rosendahl noted that after witnessing Bells work as production designer on Antz, PDI wanted to continue its relationship with him. The idea of extending his creative responsibilities globally to the overall company-to have John drive the creative direction of our commercial and feature effects-was something we felt strongly about and very comfortable with, said Rosendahl.
Previously, individual artisans-like director Cliff Boule-would assume creative directorship on specific PDI projects. While that will continue, explained Rosendahl, for the first time the studio has in Bell a designated person to oversee creativity and design throughout the spot and feature division.
And that division has been fortified by Antz, which helped generate software and computer animation resources encompassing such applications as facial animation, crowd systems and water creation technology. Besides offering creative stewardship in short and long-form, Bell will play a key role in identifying and then hiring additional visual effects supervisors and artisans.
Bell was at Industrial Light+ Magic (ILM) from 1985 to 91, serving as a storyboard artist on such films as Star Trek IV and Tucker, a conceptual designer on Inner Space and as an effects art director on Cocoon: The Return and Back To The Future II and III; as well as The Rocketeer.
Also in 1990 and 91 via ILM and the now defunct Lucasfilm Commercial Productions (the predecessor to what today is ILMCP), Bell art directed a Diet Coke commercial for the U.S. market and a Toyota of Japan spot. The Diet Coke :30, The Melt, helmed by feature director Michael Ritchie for Lintas: New York, became a well-known computer animation spot; it showed a football team at practice on a hot summer day. Boomer Esiason, the quarterback of the Cincinnati Bengals (now a Monday Night Football analyst on ABC), notices the 104-degree temperature reading on a thermometer, then hears panicked screams of Im melting. He looks at his teammates-who in fact appear to be melting down into liquid puddles-and whips two-liter bottles of Diet Coke at them. They drink it, replenish their fluids and are back to normal when they spy Esiason-half torso, half liquid pool-struggling to grab a bottle of Diet Coke himself.
Later as an independent artist, Bell was an art director on Jurassic Park, a conceptual designer/artist on Starship Troopers, Mission Impossible and Men In Black, and a conceptual designer for Contact and Jurassic Park: The Lost World. Then Bell garnered the plum production designer assignment on Antz.
John has contributed to some of the most significant special effects films in the last decade, said Patty Wooton, PDIs senior VP, production. Johns move into this post will provide us with the latitude to grow and further develop our plans into becoming an outstanding creative content provider in the industry.
A graduate of Cal Arts, Bell holds a degree in transportation design and worked as a product designer for General Motors and Atari games prior to joining ILM. Subsequent to departing ILM, he also served as a product designer for Nike.
After collaborating with PDI artisans on Antz, Bell said he jumped at the opportunity to stay on with the studio. During my career, Ive responded well to challenges that offer variety; PDI provides me with the chance to be creative director over feature effects, to be involved in effects and live-action commercials and to still keep a hand in designing for animation-thats an appealing mix creatively.
Bell complements a PDI commercial team that remains intact and includes exec. producer Cindy Cosenzo, and directors Boule and Larry Bafia. Additionally, PDI partner/VP, special projects, Richard Chuang continues to be available as a spot visual effects supervisor.
